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LIBRARY 
KNOEDLER & CO. 


NEW YORK 


EXHISITIONS. — ict SALES AND WIXHIBITIONS. | ART SALES AND EXHISITIOM 
» — —~- rR Oooo" 


ah g THE FIFTH AVENUE ART GALLERIE, 


/ ‘ 
oe % _, 366, 368 Fifth Al enue, near 34th Street, } 
err ha . JAMES P. SILO, Auctioneer. 


ON FREE VIEW : 
O-NORR OW, MONDAY, TUESDAY, Day and Evening, 
WEDNESDAY till time of sale, 


tm vety remarkable collection of 


ul 
|: 
| 
\ 


To be offered at _aaneieapielly nub 5 


WEDNESDAY, MARCH 7 


ery Example Is per ayit an Une pivocal | Guara i 


English School. French School, 

SIP. JOSHUA REYNOLDS NATTIER A On ae 

SIR HENRY RAEBURN TOURNIERES P, \IWOUVERMANS 
SIR THOMAS LAWRENCE gh a rates ANTONIO MORO 
SIR WILLIAM BEECHEY LANCRET WIJINANTS 

SIR GODFREY KNELLER CHARDIN VAN GOYEN 

SIR PETER LELY SANTERRE N.| MAES 

JOHN CONSTABLE VALENTIN ViCTOORS 

GEORGE MORLAND PATER A. |/VAN DE VELDE 
WILLIAM HOGARTH MiGNARD VAN SLINGELANDT 
. JOHN HOPPNER LECLERC PERKHEYDEN 
JOHN OPIE, etc., etc. ete., ete. J. BUSTERMANS, etc., etc, 


Catalogues de ake. with thirty-six photograyure illustrations. Pri 
Full descriptive catalogues, with phot¢ ravure frontispiece, 25 


THE FIFTH AVENUE) ART GALLERIES | 
Fifth Avenue, near 34th Street. He 


“Old Masters” 


COLLECTION 


OF 


THE EHRICH GALLERIES 


1906 


THE FIFTH AVENUE ART GALLERIES | 


366-368 FirrH AVENUE, NEAR 34TH STREET, NEW York 
Sieve eat LO. tA CTIONRER 


ITH EVERY PAINTING of this sale the pur- 
chaser will receive a card containing the following 


GUARANTEE 


The genuineness of this painting is guaranteed 
—that it is an original, not a copy—and that it 
was painted by the artist (here mentioning name) 
to whom it is attributed in our Sales Cata- 
logue of March 21, 1906. Should this be dis- 
puted by competent expert authority, the paint- 
ing is returnable to us, at any time within one 
year from date of sale, at the price paid, plus 
interest at the rate of five per cent. per annum. 

THE Enrich GALLERIES by Louis R. Enricu. 


CATALOGUES DE LUXE, printed on hand-made paper, with 
thirty-six photogravure illustrations, a limited, numbered 


edition, PRICE, FIVE DOLLARS. 


Fut, DEscrIPTIVE CATALOGUE, with photogravure 
frontispiece, 25 cents. 


LIST of PAINTINGS of 


THE EHRICH GALLERIES 
COLLECTION TO BE SOLD, AT UNRESTRICTED PUBLIC SALE, ON 
WEDNESDAY EveENING, Marcu 21st, at 8:80 P.M. 


IN THE GRAND BALL-ROOM OF THE WALDORF-ASTORIA 


No. of 
Cata. NAME OF ARTIST TITLE OF PAINTING Amount 
ogue 

1 | H. BELievios Seascape 

2 | Wrr11am Hocartu The Poet John Gay 

3 | CoRNELIUS JANSSENS Portrait of a Young Lady 


4 | BeRNARDO GERONIMO DE 


LLORENTE The Divine Shepherdess 
5 | MarEo CEREzO A Spanish Prelate 
6 | GrorcE Dawe Miss Philips, the Actress 
7 | SepasTIeEN LecLERC Blind Man’s Buff 
8 | G. B. Winicock Landscape 
9 | JoHN GLOVER Sunset on the Coast 


10 | Jan Van RavesTEYN Portrait of a Dutch Lady 


No. of 


logue 


26 


NAME OF ARTIST 


JoHN BerRNAY CROME 


JoHN RILEY 


PIererR C. VAN SLINGE- 


LANDT 
Justus SUSTERMANS 
JANS WIJNANTS 
Rogsert TOURNIERES 
Rosert TOURNIERES 
Prpro DE Moya 
Wiitut1amM Dopson 
Sir Henry RAEBURN 
GEORGE MorLANnb 
‘THOMAS Heaoe 
Henry STONE 
Nicotaas Mags 


Sir Perer LEY 


JoB BERKHEYDEN 


TITLE OF PAINTING 


English River Scene 
A Lord Chancellor 


The Music Lesson 
Vittoria Della Rovere 

A Landscape 

Gentleman with a Jewel Box 
Portrait of a Lady 

The Flight into Egypt 
Portrait of a Girl 

John Philpot Curran 
The Barnyard 

Portrait of a Lady 

Inigo Jones, the Architect 
Family Group 


Nell Gwynne Taking Music 
Lesson 


Dutch Landscape 


Amount 


EOE em 
Deemer f-seonle 


NAME OF ARTIST | 


Srr Wiiu1AmM BEEcHEY 


Nicuouas LANCRET, 
School of 


JEAN BaprisTE SANTERRE 


Wiiu1am HoaartH 
ANTONIO CANALETTO 
JAN VICTOORS 

JAN VICTOORS 
PIERRE VALENTIN 
PrerrRe MicNnarp 
CamitLtus Hone 
JOHN CONSTABLE 
JEAN Marc Natrier 
Pure WouwERMANS 
ALLAN RAMSAY 


Davin Tenters, Am- 
BROISE BREUGHEL 


Rospert TOURNIERES 


TITLE OF PAINTING 


George IV 


Féte de Famille 

Lady with Mask 
Alexander Pope 

A Canal in Venice 

A Dutch Gentleman 

A Dutch Lady 

The Card-Players 
Duchesse de Bourgogne 
Portrait of a Boy 


The Lock 


La Duchesse de Chateauroux 


At the Inn 


Horace Walpole 


Landscape with Castle 


Francois Mouchard 


Amount 


No. of 
Cata- 
logue 


43 


44. 


45 


46 


47 


48 


49 


50 


51 


52 


53 


54 


55 


56 


57 


NAME OF ARTIST 


Sir Wiiu1AmM BEercHEry 


Don Atonzo MiagueL DE 
'TTOBAR 


JEAN Baptiste JOSEPH 
PATER 


ANGIOLO ALLORI Bron- 
ZINO 


CaRRENO DE Mriranpa 
RicHarp WILSON 
JOHN OPI 

Antonio Moro 
BoNAVENTURE DE Bar 
Juan B. M. Det Mazo 


Sir JosHua REYNOLDS 


JAN WIJNANTS 
Sir Perer LEty 
Wiiu1Am HoGartru 


GEORGE MoriLAND 


TITLE OF PAINTING 


Mrs. Sarah Siddons 
Christ-Child and St. John 
** Le Glouton ”’ 


An Italian Princess 
Young Prelate in Red 
An Italian Landscape 
Girl at the Well 

A Gentleman of Ravenna 
Féte Champétre 

A Spanish Grandee 


Elizabeth, Countess of Ber- 
keley 


Chateau de Cleves 
Duke of Monmouth 
The Artist's Sister 


Looking at the Pigs 


Amount 


70 


71 


NAME OF ARTIST 


Sir GopFREY KNELLER 
Sir Tuomas LAWRENCE 


Martetra Rosusti Tin- 
TORETTO 


JoHN HoppnrER 
JAN VAN GOYEN 
Str Henry RAEBURN 


JEAN Marc Nartrier 


Davip TENIERS 
JOHN CONSTABLE 


Jacopo Pauma (It Gio- 
VINE) 


ADRIAAN VAN DE VELDE 
GONZALEZ COQUES 
JEAN B. Smmeon CHARDIN 


JOHN ZOFFANY 


TITLE OF PAINTING Amount 


Portrait of King William III 


Portrait of a Lady 


The Duke of Parma 

Miss Elizabeth Moore 

Twilight on a Dutch River 

Professor Donald Stewart 

La Duchesse de Chateau- 
roux et La Comtesse de 
Flavacourt 


The Prodigal Son 


Daniel Mendoza 


Violante Palma 

The Old Broken Bridge 
The Somallint Family 
Portrait of a Lady 


Captain Money, the Aero- 


naut 


Cata- NAME OF ARTIST 


72 | Atonzo SANCHEZ COELLO 


73 | Leanpro Da Ponte Bas- 
SANO 


74 | D. A. C. Detgapo 


TITLE OF PAINTING 


Portrait of a Lady resembling 
Mary Queen of Scots 


The Duke of Visconte 


Spanish Princess 


Amount 


- 
a 


Meme Cc 1ajl Notes 


RELATING TO SOME OF THE PAINTINGS OF 


THE EHRICH GALLERIES 
to be sold in the Grand Ballroom of the Wal- 
dorf-Astoria on the evening of March 21, 1906 


ing offered at our sale is sold under absolute 

guarantee of genuineness. If at any time within a 
year the buyer finds that the genuineness or attribution of any 
example is disputed by any expert of standing, the purchase 
price, plus interest at the rate of five per cent., will be refunded. 
We take unusual care in the selection of our paintings; we 
solicit, in case of any doubt, the judgment of the greatest 
world experts, and, in consequence, we are ready to guarantee 
what we sell. 


WwW again call attention to the fact that every paint- 


PEDIGREES 


Readers of our catalogue will notice that in a number of 
instances no notes are given as to the pedigree or provenance 
of the painting. We would explain that very frequently, both 
in England and on the Continent, paintings are offered at public 
sale the owners of which refuse to divulge their identity. In 
the catalogues of Christies’ and of other auction-houses, we find 
the heading again and again: “ Property of a private gentle- 
man.” ‘The auctioneer is pledged to secrecy; and consequently 
the buyer, whether ourselves or the person from whom we 
have bought, is unable to give the name of the owner. ‘To 
connoisseurs and real art-lovers the pedigree is a matter of 
very little importance. The all-important thing is the beauty 
and quality of the painting itself. - 


No. 1.—H. BELLEVOIS 


Examples of Bellevois are rare. A fine example, the exact size of this 
picture, representing Turkish and Dutch ships, is in the Prado Gallery at 
Madrid. 


No. 2.—WILLIAM HOGARTH 


Hogarth’s name is associated in our mind so closely with his paintings _ 
of domestic history, such as “A Rake’s Progress,” etc., that we forget that — 
he executed a large number of portraits. In fact, in 1757, when he was 
nearly sixty years of age, he announced his determination to devote him- 
self exclusively to portrait painting. ‘This resolution he maintained for 
several years. Bryan mentions twenty-three of his portraits which are 
in English public galleries. In 1884 his portrait of Miss Fenton sold for 
$4,400. 


No. 8.—G. B. WILLCOCK 


The following, which appeared in the London Times in the early part 
of 1905, should be of interest in relation to our example: 


“A FORGOTTEN LANDSCAPE-PAINTER 


“In the present craze for what is called ‘Early English’ Painters, 
many collectors will be truly grateful to Mr. Algernon Graves, who has 
brought back into notice a forgotten artist whom Sir Frederick Burton 
has promptly deemed worthy of a place in the National Gallery. This is 
the late G. B. Willcock, from whose widow Mr. Graves lately purchased 
a dozen small landscapes, now to be seen in his gallery in Pall Mall. Will- 
cock was born about 1820, and died in 1852 of a cold caught in painting on 
Hampstead Heath. He exhibited twelve pictures in the Royal Academy 
between 1840 and 1851, but what has become of those pictures is not 
known. His work‘is so like that of Constable that it is very possible that 
unscrupulous persons have often removed his signature and sold his 
pictures as those of the greater master. Still, it is full of individual charac- 
teristics; is fresh, breezy, and freely treated, and the color scheme is quite 
Willcock’s own. The picture bought for the National Gallery is an 
upright landscape of cabinet size representing Chilston Lane near Torquay, 
and was painted in 1831.” 


No. 13.—PIETER C. VAN SLINGELANDT 


As early as 1771 an example, about the size of our picture, sold in 
Holland for nearly 5,000 francs. In 1871 an example, measuring only 
12 x 14 inches, sold in Paris for 6,300 francs. 


No. 15—JAN WIJNANTS 


Wijnants has always been a favorite with those who admire the art 
of Jacob Ruysdael. Wijnants was probably twenty to twenty-five years 
older than Ruysdael, both men were born at Haarlem, and there can be 
little doubt but that the former had a great influence on the development 
of the latter. The paintings of Wijnants have always been held in high 
esteem. Even in 1777 a Wijnants was sold in Paris for the equivalent of 
10,000 francs. 


No. 20.—SIR HENRY RAEBURN 


Up to 1884 the highest price received for a Raeburn was that of 
nearly $5,000 paid in 1877 for the portrait of Lady Raeburn. When the 
buyer resold it the following year, the picture brought only $3,200. It 
is within the last twenty years that Raeburn has come to be more adequately 
appreciated. Last year a lady’s portrait from his hand brought $45,000 
at Christies’. 


No. 21—GEORGE MORLAND 


Before 1800 the average value of a “ Morland ” was less than a hundred 
dollars. From 1800 to 1871 no painting of his, with but a single exception, 
brought as much as $1,200. In these later years his works are sought 
eagerly by amateurs, and at Christies’ last summer his picture of “The 
Dancing Dogs” brought $20,000. 


No. 23.—HENRY STONE 


Many a portrait which parades itself in galleries to-day as a “Van 
Dyck” is in reality the product of so-called “Old Stone.” There is little 
doubt but that Van Dyck made use of him as assistant, and probably 
very often gave a finishing touch to the assistant’s work. 

3 


No. 24.—NICOLAAS MAES 


Those who have studied Dutch art in Holland will remember the 
extremely beautiful genre pictures by Maes—small interiors with women 
sewing, spinning flax, etc., etc. His portrait work is equally effective, 
at times approaching Rembrandt, and again outrivalling Metsu and 


Netscher. The example of this collection was sold in the public sale of =~ 


Princess Mathilde (Paris), the daughter of Jerome Bonaparte. 


No. 25.—SIR PETER LELY 


This portrait of a historic character by a famous painter ought to 4 e 


attract art-amateurs. The works of Lely have not yet made the advance 
proportionate to other English artists, but there is a steady upward move- 
ment in their values. In the steady absorption of good examples by the 
British masters, it needs little foresight to foretell that the portraits by Sir 
Peter Lely will in a few years bring many times their present prices. 


No. 37.—JOHN CONSTABLE 


Constable stands in the front rank of the world’s landscape-painters. 
As has been said of him: “ His true instructor was Nature.” In 1866 one 
of his canvasses sold in London for $6,800, and ever since that time the 
range of his prices has been very high. 


No. 38.—JEAN MARC NATTIER 


Both examples of Nattier of this collection have been indorsed by 


two leading French experts (one of them an expert of the Hotel Drouot, — 


Paris) as unquestionably genuine examples by the master. ‘These expert 
opinions are at the disposal of parties interested. 


No. 46.—ANGIOLO ALLORI BRONZINO 
This painting is accompanied by the following expert opinion given 
by Mr. Bernhard Berenson, who is by many considered the greatest living 
expert of Italian art: 
“T hereby certify that the painting of which this is a photograph, now 
4 


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in the possession of Mr. Louis R. Ehrich of New York, is in my judgment 
a genuine example by Angelo Bronzino, and that it is in good condition. 
“(Signed) © BERNEARD BiReNSON.” 


No. 41..—DAVID TENIERS AND AMBROISE BREUGHEL 


It may be a matter of interest to know that David Teniers and Ambroise 
Breughel were brothers-in-law—as Teniers married the daughter of Jan 
Breughel, who was also an artist. 


No. 53.—SIR JOSHUA REYNOLDS 


Mr. Algernon Graves, who has written the great biography of Reynolds, 
is considered the best English expert of his work. We have the following 
letter from his hand in relation to our painting, the Countess of Berkeley: 

“J have very carefully examined your beautiful portrait of Elizabeth, 

Countess of Berkeley, and it is in my opinion a perfectly genuine work by 
Sir Joshua Reynolds painted about 1759. It is probably the one that 
belonged to the Marchioness of Thomond, and which was sold at her sale 
in 1821. It is a second picture of the same portrait belonging tothe 
Marquess of Lansdowne, and quite different in composition to the picture 
of her engraved by McArdell in 1757. 
“T remain, 
“Yours faithfully, 
“ (Signed) ALGERNON GRAVES.” 


No. 61.—JOHN: HOPPNER 


This painting was purchased from Major Moore, a retired English 
officer. Miss Moore was his grand-aunt. Major Moore is the last sur- 
vivor of the family. Of this painting the Evening Post wrote as follows: 

“Hoppner’s portrait of Miss Moore deserves extended notice. This 
lady-in-waiting is of an ample, almost masculine type simply clothed in 
_ white, with blue ribbons and a yellow elbow glove. The whites are beauti- 
ful in quality, the drawing authoritative, the whole expression one of good 
health and good humor. Miss Moore is a true Jane Austen heroine of the 
intellectual type. We have rarely seen a finer example by a painter whose 
mannerisms are usually more prominent than his merits.” 

5 


; ~extremeley 


No. 24.—NICOLAAS MAES _ 
Those who have studied Dutch art in Hollare’ 


HOR 


iaeburn is here s showme vonald Stuart, a famous geologist seated 
in the mouth of Fingal’s Cave, Staffa, the basaltic columns of that cele- 
brated spot being unmistakable. In his hand is a long staff with a ‘spud’ 
of iron at one end, and at his feet are samples of rocks collected during his 
visit to that natural wonder which Mr. Cope Whitehouse believes the work 
of prehistoric man. This is a naive and pleasing likeness of a scientist of _ 
some note in his day by a painter whose merit has found general acknowledg- 
ment during recent years.” 


No. 64.—JEAN MARC NATTIER 
From the New York Times: 


“Paintings, as well as furniture, porcelains, and tapestries, made in 
France during the reign of Louis XV, have been long the rage in Europe, 
after suffering something like an eclipse for a century and a half. Pictures 
by Watteau, Boucher, Largilliére, and Nattier fetch enormous prices to-day, 
compared to what they brought twenty years ago. In the pictorial tinted 
supplement is a reproduction of a Nattier at the Ehrich Galleries which 
opens a chapter in the life of Louis XV. 

“It is called ‘ Le Point du Jour et le Silence,’ or ‘ Dawn and Silence,’ and 
has the distinction of having brought the painter Nattier to the attention of 
the King and the court—to have made his fortune, in fact. For it repre- 
sents in the two goddesses reclining on dark-brown rolling clouds, two favor- 
ites of Louis XV, sisters, who belonged to a family of five women, variously 
gifted with brains or with beauty, four of whom ruled in succession the 
moody and pleasure-loving monarch. 

“In 1740 the Duchess de Mazarin brought to Nattier’s studio two of 
her nieces, daughters of the Marquis de Nesle, whom she had to protect, 
owing to the impossible career of their father, a debauched and half crazy 
noble of old family, who had ruined himself and them by unheard-of 
extravagance. One was already married. She was the Marquise de la 
Tournelle, and became later, by the King’s grace, the Duchesse de Chateau- 
roux. She it is who reclines elegantly to the left, dropping water from a 
classic beaker and holding over the head of the other goddess a wreath of 
daisies. The other was Madame de Flavacourt, a younger sister. She 
represents ‘Silence,’ and has stolen from Cupid, asleep to the right and rear, 

6 


nossession of Mr. Louis R. Ehrich of New York, is in my judgment 
AGA vy _ ~1e bv Angelo Bronzino, and that it is in goed) pomseson: 
favorites, ainely: Madaiic ue 22a. UT ee aint PPO J eetin Rome TNSON. ” 
year before the latter had died in giving birth to a son. 

“The brothers De Goncourt state in their historical work on the lady 
pictured as ‘Dawn,’ that the dead sister, Mme. de Ventimille, was the first 
person at the court to encourage Louis to assert himself as a man against 
the tutelage in which he lived under the old cardinal. 

““The Unpublished Memoirs on Lives and Members of the Royal 
Academy’ speaks of this allegory, alluding to it as the masterpiece of Nat- 
tier. ‘The picture excited so great a stir at the court, ever ready to prophesy 
concerning the filling of the vacant post of favorite, and naturally inclined 
to believe in the power of younger and prettier members of the same family 
to fascinate the King, that the curiosity of the Queen was excited. Having 
seen the work, she was so much struck by the close resemblance to the two 
beauties that she gave Nattier a commission to paint the Princess Henriette. 
So that we have here a painting which may have been the turning-point in 
the careers of these two sisters, assuring them of the King’s attention, while 
it is certain that it was the turning-point of Nattier’s own career. 

“ Nattier’s drawing is superb, and the coloring is charming. The under- 
garment of ‘Dawn’ (Duchesse de Chateauroux) is embroidered with sprigs 
of flowers. Dull red and fine dark blue in broad masses are supplied by the 
outer draperies. But if these colors cannot be told in the reproduction, the 
peculiar and original management of line can be seen all the better, the par- 
allel lines of the arms and shoulders of the goddesses moving from the left 
upward to the right, the parallel lines of the bodies and heads moving from 
upper left to lower right. This bold repetition of line is accompanied by a 
general similarity of faces, alike enough for sisters, yet different enough to 
spell differences in character. The elder acts as protector to the younger, as 
if she were crowning her at her introduction to the court.” 


No. 66.—JOHN CONSTABLE 


From the New Y ork Evening Post: 

“There is nothing better in the portrait show than Constable’s portrait 
of his friend, Daniel Mendoza, the pugilist. The fine head is smoothly yet 
solidly modelled in the paint, everything in the drawing is unaffectedly sim- 
ple; but the picture, besides conveying a keen impression of physical vitality 

7 


and of that peculiar alertness which all great bruisers must possess, has an 
indefinable sense of style. It makes one regret Constable’s rare devotion to 
this form of painting.” 


No. 67.—PALMA GIOVINE 


As to this painting there was some hesitation whether to ascribe it to 
Palma Vecchio or Palma Giovine. Upon submission to Mr. Bernhard 
Berenson, he pronounced it the work of Palma Giovine, probably after a 
design of Palma Vecchio. ‘This opinion has been concurred in by other 
experts. 

“Violante Palma” was frequently used as a model by Titian (note the 
so-called ‘‘ Sacred and Profane Love” of the Borghese collection), and the 
ancient tradition, now relinquished, held that she was Titian’s mistress. 
The painting is a rare example, in fine state, of late sixteenth-century Vene- 
tian art. 


ipsa a8 Mapa. ist 


Sa? RES 


SEVENTV-FOUR PICTURES 
~ BRING TOTAL OF $63, 635 


a 


Samuel Untemyer Pays $8,000 


for a Jean Mare Naitier, 


EHRICH SALE AT WALDORF 


‘Stanford White, John D. ‘Crimmins, and. 
Mrs. John E. Parsons Made Pur- 
chases Through’ an Agent. 


ae | 
The seventy-four.** old masters ’”’ from| 
ithe Ehrich Galle which were accom-| 
panied each with a dealer’s guarantee of 
igenuineness and which were considered | 
fworth a five-dollar edition de luxe cata-_ 
logue, were sold last evening in the Grand) 
‘Ballroom of the Waldorf-Astoria for $63,-, 
1635. The attendance was large and the’ 
paintings were disposed of with dispatch. | 
{There was applause when Nattier’s ‘“ La) 
Duchesse de Chateauroux et la Comtesse) 
ide Wlavacourt’’ was sold to Samuel Un-, 
‘termyer for $8,000. Stanford White, Mrs. | 
John BH. Parsons, 8. T, Perry, J. Kauf- 
‘mann, and Marc A. Blumenberg were 
lsome of the persons who bought through | 
‘am agent who said he was ‘’ Mr. O'Reilly.’ | 
| John D. Crimmins paid $270 for a land- | 
Scape by G. B. Willcock, the same price | 
for “The Flights Into Egypt,” Pedro de} 
‘Mora, and $1,050 for a portrait of John! 
Philpot Curran, attributed to Sir Henry) 
Raeburn. John Opie’s “ Girl at the Well’ | 
aiso went to Mr. Crimmins and for the) 
same price. This was one of the few 


‘pictures of the evening which started at} 
$000. ‘‘The Young Prelate in Red,” by} 
Carrena de Miranda, Mr. Crimmins mid 
fin for $450. 

“The Lock, ham ehig Constable, a scene sup-| 
‘posed to have been located on the River) 
Stour in Hngland, brought the second) 
highest price of the sale, going to an 
agent for $6,200. This had been in. the| 
collections ‘of Mr. . Sanderson, Bullers) 
Wood, Chiselhurst, Hngland, and of Col.) 
‘Hillis, Iondon. The two pictures by Jan. 
|Victoors, a pupil of Rembrandt, which) 
'were among the portraits. best liked by) 
some critics, brought respectively $875 for) 
A Dutch Gentleman” and $625 for ‘A. 
\Duteh Lady,” going to L. A. Lanthier. ] 

Following is a list of buyers, prices,| 
pictures, and artists to whom they were) 
ascribed; | 
H, Bellevios, Seascape; to B. W. Spar- | 


Roc acs Wane rare: oS BYE Ps Sake “ADE TW eal or sales wide ar $130) 
William Hogarth, The Poet John Gay; to | 

BOLVATY BR UG nia Sheree oun eT ele 125) 
Cornelius Janssens, Portrait of a Young 


AUREL LG Fe BROKER Ul: Soctiiany ec ota va a 110) 
(Bernardo Geronimo de Liorente, The Di- | 
vine Shepherdess; to Edward G. Kautf- | 
BIIUEUING GN Gs ota GSE: Aee ATO vin od bee aee ld i 145, 


Mateo Cerezo, A Spanish Prelate; to EH. | 
O’ Reilly, agent RERTenaseeRedn Rie na ta Gia  iaPeiie eae oe « 170) 
George Dawe, Miss Philips, the Actress: | 
MReOs Lis Ac Pe E NTO Maia eis sistas Vint 4 elute ahece oie 140 
Sebastien Lecierc, Blind Man's Butt: to | 
Babs SAP EVOL IM Care erO Tbe) alot oss 6 § bie xine bicseid 140) 


fen B, Willcock, Landscape; to John D. 


MMSDUBTTITIS: Gye Cae Cae Med Uae aie ane ual 270) 
John Glover. Sunset on the Goast; to 3! 
BREIL Se iN he CUn SE RM. a cle yh Lg 225) 
Jan Van Ravensteyn, Portrait of a Dutch 
Lady; to Louis Ralston....:.......... 250) 
John Bernay Crome, English River Scene: | 
to Ralph Shainwalee...). 2... 250 
John. Riley, A Lord Conia to © 
SUMNER Ora a F(a n kina. oldhg a 9 ARMANI NE hg Als. «0g 200 
Pieter C. Van Slingelandt, “the Music 
Lesson; to E. O'Reilly, agent.......... 275 | 
Justus Sustermans, Vittoria Della Rove- 
¥o;, to Frank H. Keeble.wuis.si..).s.. 920) 
Jans Wijnants. A RS to J. Neale, 
ABENG. ee is eee ee wiitbeses: task: 825) 


Hudson, Port 
“Balsions oo 
Rone t a Ad 

tee 


Bool of accra ° Seat ae 
ee J. oe nheim.... ne 


BERR eee ee wae 


er rie 


: Bentiemaa’ to : 
A. Lanthier Sia pig weet Hoye ay 
Jan Victoors, A Dutch ‘Lady; to L, A a 
Lanthier: *..)2 eae FE ER MITC ere 
Pierre ee 1 the “Card Players; tes ey 
Mrs, MM. a: x + eras eae h 
ane Mignard,, Duchesse de B B 
0 Duryea Obtains. /-i<s') DRE oe 
Camillus Hone, Portrait of ® Boy; ito Mie 


BR igo oe 


O' Réilly, | agentes bess Bea ree a 
John Constable, The Look: to F, “Neal 6200 
Reagent ©’). ah ce Saas bigs POT > ea 
Jean Mare Nattier, La Duchesse 


Chateauroux; to D. W, Coffin.......... - 8,800 
Philip Wouwermans, At the Tan; to 


Séckar:’ . 0. cee a ar, 500. 
Allan Raimsay, Horace owe ahi aa 
O'Reilly, agen nies oe » 400) 


| 

scape with Castle; to J. Neal a 700 
Robert Tournieres, Francois a teeth: 

j- tO Frank Hp meeblemien yas bcs. oi 

Sir William Beechey, Mrs. Sarah sia. >, 
dons; to Mr. O'Reilly, agent.......0.5 nto 

Don’ Alonzo Miguel ge Tobar, Christ- 
peels and St. John; to Duryea, yea & Pot- 3) 
C3 Rei a PRE Wie ro arene A cde eee 

Jean Baptiste Joseph Pater, ** Le Glogs i 
ton’’ ; to Duryea & Potter.. 775 

Angiolo Allori Bronzino, An Italian Prine t 
cess; to Mr. O'Reilly, agent. se 

Carreno cde Miranda, oe Prelate in | 
Red; to John Ds Crimmings,........02 450! 

Richard Wilson, An Italian Landscape; to 
Louis Ralston -4 lesen “Wi 

John Opie, Girl at. ihe Wel 7 to Be 8 
Crimmins,\\.:. ...i ey ae ae say 1/050! 

Antonio Moro, A Gentleman of Raven pk: i 
to Duryea & Potter. i | 

Bonaventure de Bar, Fete. ‘Champetre; to. 
Jacob Seeker..... 

Juan B. M. Del Mazo, A Spanish ‘Gran- 0 


dee; to Mr. O'Reilly, agent.. 1,400 
Sir Joshua Reynolds, Elizabeth, Countess i 

of Berkeley; to Duryea & Potter........ 2,850 
Jan Wijnants, Chateau de ‘Cleves; to J, 

James | vs bau oe a ee 0 1,750, 
Sir Peter Sela? & ‘ot “Monmouth oe y 


George Morland, Looking at the Pigs; to 
Mr. O'Reilly: isn) eee BBS 
‘Sir Godfrey Kneller, Portrait of King’ 
William III.; to. Holland Art Galery... 525 
Sir Thomas Lawrence, Portrait of a tae! 
dy; to L. A. Lanthier..... Aigbates airs 38 
Marietta Robusti Tintoretto, ‘The Duke 
of Parma; to Holland Art Gallery... 
John Hoppner, Miss Blizabeth Moore; to 
John Wawrence, agentyn) oseuce. ba... ae 1,700) 
Jan Van Goyen, Twilight on @ Dutch 
River; to F. A. Chapmamwoen os. ae \é 
Sir Henry Raeburn, Prof. Donald Stew- | 
ayt;- toi John: Thommeseingeas 2. en yee 1,450) 
Jean Mare Nattier, La Duchesse de Cha- 
teauroux et La Comtesse de Flayacourt; 
to Samuel Untermiyens, sinew slag 8,000 
avid Teniers, The Prodigal Son; to Dur- ‘ 
yea. & ‘Potter, “a iasenaees scenes cate 1,350 
John Constable, Daniel Mendoza; to Mr. j 
OfRellly |... os 3 See ee 1,550) 
Jacopo wntrod, (1 Giovine,) Violante Pal- | 
ma; to John Lawrence, agent,......... 1,900) 
Adriaan Van de Velde, The Old Broken | 
Bridge; to Mr. O'Reilly, agent........ 1,350 
Gonzalez Coques, The Bociaint Family; 
te; D: Naylor «.). poem eaedaipanite ca catcer 
Jean B. Simeon Chardin, Portrait of a 
Tady; to J. Kautmameiecw esses cis cs 510 
John Zoffany, Capt Money, the Aeronaut: 


Alonzo Sanchez Coello, Portrait of a Lady 
Resembling Mary Queen of Sgots; to § 
Mr. O'Rellly, agentniapar, hayes. >. . 26 o- 220) 

Teandro Da Ponte Bassano, The Duke’ of | 
Visconti; to Frank H, Keeble.......... | 

PAA iC: Delgado, Ss 
A. meee sete IH isles bea « ib ” 189 

eee er J 


Edition de Luxe 


F THIS EDITION a limited 

number have been printed on 
hand-made paper, of which this is 
No. BE 


OLD DASGERS 


Of the SIXTEENTH, SEVENTEENTH 
And EIGHTEENTH CENTURIES 
Collection of the 


EHRICH GALLERIES 


SALE IN THE GRAND BALL-ROOM OF 
THE WALDORF-ASTORIA 
ON THE EVENING OF WEDNESDAY 


MARCH 21st, 1906 
AT EIGHT-FIFTEEN 


ON PUBLIC VIEW FROM 
Monday, March 19th, Until Evening of Sale 


AT THE FIFTH AVENUE GALLERIES 
FIFTH AVENUE, Near 34th Street, NEW YORK 


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CATALOGUE OF THE 


EHRICH GALLERIES 


Collection of 


VALUABLE PAINTINGS 


By the 


MASTERS of the EARLY ENGLISH 
FRENCH, DUTCH, FLEMISH 
ITALIAN anv SPANISH 
SCHOOLS 


~ 


To be sold 
AT ABSOLUTE PUBLIC SALE 
WEDNESDAY EVENING 
March 21st, 1906 


Pi hosA LE Wl LL. BE 
for CTE Deby JAMES P..SILO of 
THE FIFTH AVENUE GALLERIES 
866 FIFTH AVENUE, Near 34th Street, NEW YORK 


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Preface 


HE Paintings of this Collection will be placed on sale 

absolutely without reserve. The genuineness of every 
painting is fully and unequivocally guaranteed. With every 
example the purchaser will receive a card containing the 
following 


GUARANTEE 


The genuineness of this painting is guaranteed—that it is 
an original, not a copy—and that it was painted by the 
artist (here mentioning name) to whom it is attributed in 
our Sales Catalogue of March 21, 1906. Should this be 
disputed by competent expert authority, the painting is 
returnable to us, at any time within one year from date of 
sale, at the price paid, plus interest at the rate of five per 
cent. per annum. 


THE EHRICH GALLERIES 


by 
Louis R. Ehrich 


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Conditions of Sale 


1. The highest bidder to be the buyer, and if any dispute arise be- 
tween two or more bidders, the lot so in dispute shall be immediately 
put up again and resold. 


2. The purchasers to give their names and addresses and to pay 
down a cash deposit, or the whole of the purchase money, 7 required, 
_ in default of which the lot or lots so purchased to be immediately put np 
again and resold. 


3. The lots to be taken away at the buyer’s expense and risk upon 
the conclusion of the sale and the remainder of the purchase money 
to be absolutely paid or otherwise settled for to the satisfaction of the 
auctioneer, on or before delivery; in default of which the undersigned 
will not hold himself responsible if the lots be lost, damaged or destroyed, 
but they will be left at the sole risk of the purchaser. 


4. The lots to be taken away and paid for, whether genuine and 
authentic or not, with all faults and errors of description, at the buyer’s 
expense and risk, within Two Days from the sale; Tur Firra Avr- 
NUE ArT GALLERIES not being responsible for the correct description, 
genuineness, or authenticity of, or any fault or defect in any lot, and 
making no warranty whatever. 


5. To prevent inaccuracy in delivery and inconvenience in settle- 
ment of the purchases, no lot can on any account be removed during 
the sale. 


6. If for any cause an article purchased cannot be delivered in as 
good condition as the same may have been at the time of its sale, or 
should any article purchased thereafter be stolen or misdelivered, or lost, 
the undersigned is not to be held liable in any greater amount than the 
price bid by the purchaser. 


7. Upon the failure to comply with the above conditions, the money 
deposited in part payment shall be forfeited, all lots uncleared within 
the time aforesaid shall be resold by public or private sale, without 
further notice, and the deficiency, if any, attending such resale shall 
be made good by the defaulter at this sale, together with all charges 
attending the same. This condition is without prejudice to the right 
of the auctioneer to enforce the contract made at this sale, without such 
resale if he thinks fit. 


THE FIFTH AVENUE ART GALLERIES are in no way 
responsible for the charges or manner of delivery of goods purchased at 
their sales. 

JAMES P. SILO, Auctioneer. 


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Artists Represented 


CATALOGUE 


ARTIST TITLE NUMBER 
Bar, BONAVENTURE DE 
Féte Champétre No. 51 


Bassano, Leanpro Da Ponte 
The Duke of Visconti No. 73 


BreEcHEyY, Sir WILLIAM 
George IV No. 27 
Mrs. Sarah Siddons No. 43 


BEtxLeEvors, H. 


Seascape No. 1 


BERKHEYDEN, JoB 


Dutch Landscape No. 26 


Bronzino, ANGIOLO ALLORI : 
An Italian Princess No. 46 


CANALETTO, ANTONIO 
A Canal in Venice No. 31 


CrrEzo, Mateo 
A Spanish Prelate No. 5 


CHARDIN, JEAN B. SmmEON 
Portrait of a Lady No. 70 


CoELLo, ALoNzo SANCHEZ 
Portrait of a Lady resembling Mary Queen of Scots No. 72 


CATALOGUE 
ARTIST TITLE NUMBER 


CONSTABLE, JOHN ‘ 


The Lock No. 37 
Daniel Mendoza No. 66 


CoquEs, GONZALEZ 


The Somallini Family No. 69 


CromME, JoHN BERNAY 
English River Scene No. 11 


Dawe, GEORGE 
Miss Philips, the Actress No. 6 


Detaapo, D. A. C. 
Spanish Princess No. 74 


Dosson, WitL1AM 
Portrait of a Girl No. 19 


‘ 


GLOVER, JOHN 
Sunset on the Coast No. 9 


GoyENn, JAN VAN 
Twilight on a Dutch River No. 62 


Hocartu, WILLIAM 


The Poet John Gay No. 2 
Alexander Pope No. 30 . 
The Artist's Sister No. 56 


Hone, CamiILuus 
Portrait of a Boy 


ARTIST TITLE 
Hoppner, JoHN 


Miss Elizabeth Moore 


Hupson, THomas 
Portrait of a Lady 


JANSSENS, CORNELIUS 
Portrait of a Young Lady 


KNELLER, SIR GODFREY 
Portrait of King William IIT 


Lancrer, NicHoxtas (ScHOOL OF) 
Féte de Famille 


LAWRENCE, Sir THOMAS 
Portrait of a Lady 


Lecierc, SEBASTIEN 
Blind Man’s Buff 


Lety, Sm Perer 


Nell Gwynne Taking Music Lesson 
Duke of Monmouth 


LLORENTE, BERNARDO GERONIMO DE 
The Divine Shepherdess 


Mass, NIcoLaAas 


Family Group 


Mazo, Juan B. M. DEL 
A Spanish Grandee 


CATALOGUE 
NUMBER 


No. 61 


No. 58 


No. 28 


No. 59 


No. 25 
No. 55 


No. 4 


No. 24 


CATALOGUE 
ARTIST TITLE NUMBER 
MIGNARD, PIERRE 


Duchesse de Bourgogne No. 35 


MiranpA, CARRENO DE 
Young Prelate in Red No. 47 


Mortanp, GEORGE 


The Barnyard No. 21 
Looking at the Pigs No. 57 


Moro, ANTONIO 
A Gentleman of Ravenna No. 50 


Moya, PEDRO DE 


The Flight into Egypt No. 18 


Nattier, JEAN Marc 
La Duchesse de Chateauroux No. 38 
The Duchesse de Chateauroua and the Com- 
tesse de Flavacourt No. 64 
Orizr, JoHN 
Girl at the Well No. 49 


Patma, Jacopo (In Grovine) 
Violante Palma No. 67 


Pater, JEAN BAprTiste JOSEPH 
Le Glouton No. 45 


RAEBURN, Sir HENRY 


John Philpot Curran No. 20 
Professor Donald Stewart No. 63 


ARTIST TITLE 


Ramsay, ALLAN 
Horace Walpole 


RAVESTEYN, JAN VAN 
Portrait of a Dutch Lady 


REYNOLDs, Sir JOSHUA 
Elizabeth, Countess of Berkeley 


Ritzy, JoHN 
A Lord Chancellor 


SANTERRE, JEAN BAPTISTE 
Lady with Mask 


SLINGERLANDT, PIETER C. Van 
The Music Lesson 


Stone, Henry 


Inigo Jones, the Architect 


SUSTERMANS, JUSTUS 
Vittoria Della Rovere 


Tenrers, Davin, —BREUGHEL, AMBROISE 
Landscape with Castle 


Tenters, Davip 
The Prodigal Son 


Trntoretro, Marretra Rosusti 
The Duke of Parma 


CATALOGUE 
NUMBER 


No. 


No. 


No. 


No. 


No. 


No. 


No. 


40 


re a0) 


53 


1g 


. 29 


. 13 


23 


14 


41 


65 


60 


ARTIST TITLE 
Tospar, Don Atonzo MIGUEL DE 


Christ-Child and St. John 


TouRNIERES, RoBERT 


Gentleman with a Jewel Box 
Portrait of a Lady 
Francois Mouchard 


VALENTIN, PIERRE 
The Card-Players 


VELDE, ADRIAAN VAN DE 
The Old Broken Bridge 


Victoors, JAN 


A Dutch Gentleman 
A Dutch Lady 


Wittcock, G. B. 
Landscape 


WIJNANTS, JAN 


A Landscape 
Chateau de Cleves 


Wuson, RicHarp 
An Italian Landscape 


WovuwERMAnNs, PHruip 
At the Inn 


ZOFFANY, JOHN 
Captain Money, the Aeronaut 


CATALOGUE 
NUMBER 


No. 


. 34 


. 68 


. 54 


. 48 


. 39 


. V1 


List of Illustrations 


[In the order of their insertion] 
ARTIST TITLE 
Mazo, Juan B. M. pew Frontispiece 


A Spanish Grandee 


WovuweErmMans, Puinip 
At the Inn 


Ramsay, ALLAN 
Horace Walpole 


Tosar, Don Atonzo MIGUEL DE 
Christ-Child and St. John 


Moro, ANTONIO 
A Gentleman of Ravenna 


KNELLER, SiR GODFREY 
Portrait of William III 


Morand, GEORGE 
Looking at the Pigs 


TinroretTo, Marrerra Rosusti 
The Duke of Parma 


Goren, JAN Van 
Twilight on a Dutch River 


Stone, Henry 
Inigo Jones 


Lety, Sir Perer 
Nell Gwynne Taking Music Lesson 


BrecHey, Sirk WILLIAM 
George IV when Prince of Wales 


CATALOGUE 
NUMBER 


No 52 


No. 


No. 


No. 


39 


40 


. 44 


50 


. 58 


i oe 


. 60 


. 62 


. 23 


. 25 


Bt 


ARTIST TITLE NUMBER 
Lancret, NicHouas (ScHOOL OF) 
Féte de Famille No. 28 


CANALETTO, ANTONIO 
A Canal in Venice No. 31 


Victroors, JAN 
A Dutch Gentleman No. 32 


Victoors, JAN. 
A Dutch Lady No. 33 


VALENTIN, PIERRE 
The Card-Players No. 34 


CONSTABLE, JOHN 
The Lock No. 37 


Natrier, JEAN Marc 
The Duchesse de Chateauroux No. 38 


Tenters, Davip-BrEeuGHEL AMBROISE 
Landscape with Castle No. 41 


BrecHey, Sir WILLIAM 
Mrs. Sarah Siddons No. 43 


Pater, JEAN BAPTISTE JOSEPH 
Le Glouton No. 45 


Bronzino, ANGIOLO ALLORI 
An Italian Princess No. 46 


Orrz, JoHN 
Girl at the Well No. 49 


ARTIST TITLE 
Bar, BONAVENTURE DE 


Féte Champétre 


ReEynoups, Sir JosHua 
Elizabeth, Countess of Berkeley 


WIINANTS, JAN 
Chateau de Cleves 


Hogartu, WILLIAM 
The Artist’s Sister 


LAWRENCE, Sir THOMAS 
Portrait of a Lady 


Hoprner, JOHN 
Miss Elizabeth Moore 


RAEBURN, Sir HENRY 
Professor Donald Stewart 


Nattier, JEAN Marc 
The Duchesse de Chateauroux and the Com- 


tesse de Flavacourt 


Pauma, Jacopo (In Grtovine£) 
Violante Palma 


VELDE, ADRIAAN VAN DE 
The Old Broken Bridge 


Treniers, Davip 
The Prodigal Son 


CONSTABLE, JOHN 
Daniel Mendoza 


CATALOGUE 
NUMBER 


No. 


No. 


No. 


51 


. 53 


. O4 


. 56 


59 


61 


. 63 


. 64 


. 67 


. 68 


. 65 


. 66 


No. 1 


H. BELLEVOIS SOC 
FLEMISH SCHOOL 3 He, 
1684 ©. UU JSP OVA CF 


The date of the birth of Bellevois is unknown. In fact, 
little is known of his life except that he painted marines in 
the style of William Van der Velde and of Backhuysen, 
that he resided long in Hamburg, and that he died there in 
1684. The beauty of his drawing and of his tone is well 
attested by this example. 


SEASCAPE 


This might be called a study in private ensigns, so many and various 
are the flags which a brisk wind straightens out from the topmasts and 
sterns of a number of sailing barges and ships. A pier of stone, protected 
by wooden piles, carries a stone custom house, with belfry and pinnacles. 
On the other side of the pier one sees the lofty stern of a frigate, a very 
tower it is, surmounted by the red flag of an admiral, while from the 
loftiest top flies the banner of Holland. A rowboat is in the shadowed 
foreground. Fine graded sky, light toward the horizon. 


Signed on wall, lower right, H. Bettevois, 1651. 
On canvas; height, 234 inches; width, 313 inches. 


No. 2 


[dh eS. WILLIAM HOGARTH 
id} EN ENGLISH SCHOOL 


jose 
ey 1697-1764 
Hogarth, the school-teacher’s son—“ the first man of 
genius in the native British School ”—was born in London. 
After an apprenticeship to a silversmith, and following a 
long period of work as an engraver, he finally developed 
into a painter in oils. ‘The brilliant character of his work 
is too well known to need comment. It is very unequal, 
but at its best his pictures possess an abiding charm. 


THE POET JOHN GAY 


Bold brushwork and powerful drawing are characteristic of the great 
British caricaturist. ‘The poet is depicted in his working dress when his 
wig is laid aside and he has donned a soft cap to protect his shaved head. 
A dressing gown is thrown over his loose white shirt. The peculiar 
shape of the ear and the depression in the chin give an individuality to 
the head. The expression is calm and reflective. 


On canvas, height, 30 inches; width, 25 inches. 


No. 3 


CORNELIUS JANSSENS th 40 & AN 
DUTCH SCHOOL ve iytrr 
b Au Cs Og Oe et ‘ 
1593-1663 Bi Ws eee 


Janssens, called also Janssens Van Keulen, was prob- 
ably born at Amsterdam. Visiting England in 1618, he was 
patronized by James I, whose portrait he painted several 
times. He remained in England until 1648, then returned 
to Holland and settled at The Hague. 


PORTRAIT OF A YOUNG LADY 


A young noblewoman, scarcely out of her teens, is painted with the 
utmost simplicity and directness. ‘The bodice of rose color is trimmed 
with gold braid and laced in front. A perfectly plain cambric collar 
reaches from the beginning of the neck quite to the shoulders and is 
separate from the embroidered chemise which entirely covers the breast. 
Above runs a necklace of fine big pearls. She wears neither breastpin, 
earrings, nor anything in her hair save a tiny flower whose color tallies 
with her roseate gown. 

Pensive glance out of large eyes with arched pencilled brows. 


On canvas; height, 23 inches; width, 19 inches. 


No. 4 


/4y.§—- BERNARDO GERONIMO DE LLORENTE 
> SPANISH SCHOOL 
eg fio, 1685-1757 


Llorente, born at Seville, for a time devoted himself to 
the imitation of Murillo. He was recognized as a very able 
painter, but his morbid disposition made him refuse all hon- 
ors, even that of painter to the King. He was, however, 
elected member of the Academy of San Fernando. “He 
is known in Spain as ‘el pintor de las Pastoras,’ from his 
charming representations of the Virgin as a shepherdess.”’ 


THE DIVINE SHEPHERDESS 


The Madonna and Christ-child, painted rather whimsically as a 
shepherdess, and her little son, surrounded by sheep which bring roses 
in their mouths to lay them at the feet of the divine child! Naive as this 
may appear to our ideas it is surpassed by the artist when he places 
straw hats on the Virgin and the Bambino. 

The Virgin has an indication of a halo in the circle of stars behind 
her head. In the clouds farther out are faces of little angels in varied 
foreshortening. To the extreme right one sees a monster with open 
jaws representing the devil, and above an archangel with shield and 
flaming sword. 

Very sweet are the tones of robe and cloak, the lamb’s-wool coat of 
the Virgin, and the pink-tinged roses in the mouth of the sheep. One 
little winged angel in attendance carries a rude wooden crook. ‘Tender 
outlines and benevolent expressions in the faces. It is Murillo softened 
into decorative color masses. 


On canvas; height, 50 inches; width, 42 inches. 
Collection: Jimnnrnz, Madrid. 


No. 5 


MATEO CEREZO A kx 


C Ohutty Lipa, e: 


Cerezo, who was a pupil of Carreno de Miranda, was 
an eminent painter of his time. He chose Van Dyck as his 
model. He painted several pictures for the churches of 
Madrid and other Spanish cities. A fine portrait of a car- 
dinal from his hand is in the Hermitage of St. Petersburg. 


SPANISH SCHOOL 
1635-1685 


A SPANISH PRELATE 


Admirable example of the bold and characteristic painting of the 
Spanish School. Splendid colors in mitre, lips and robe. Observe the 
big strong folds, the massiveness of the painting. Note the sensual lips 
and determined expression. ‘This face would be notable in any collec- 


tion of portraits. 
On canvas; height, 29 inches; width, 22} inches. 


No. 6 


SHO —— GEORGE DAWE 


A HE : ENGLISH SCHOOL 
LO ? ar 19787-1829 


Dawe began as a mezzotint engraver, but soon aban- 
doned it for painting. In 1819 he went to Russia, where 
he painted the portraits of the chiefs of the Russian army. 
He became an Associate of the Royal Academy in 1809 
and an Academician in 1814. His portraits are considered 
very excellent as likenesses. 


MISS. PHILIPS, THE ACTRESS 


In an attitude of studied elegance which suggests sentiment the young 
woman raises her fine eyes in an abstracted gaze and gently rests her 
fingers on her neck. A long chain of small pearls is loosely thrown 
about her shoulders. She is in ball costume, low in the neck, white silk 
trimmed with gold braid. A fine mass of chestnut hair elaborately 
arranged by a coiffeur, rosy lips and finely chiseled features, make her 
appear a typical young Englishwoman arrayed for the opera or the 
royal levee. As a matter of fact, this elegant apparition was a popular 
actress at Drury Lane Theatre. 


On canvas; height, 30 inches; width, 28 inches. 


mya 91 SF Age 


S99I—-TISL 
“SNVYWYHIMNOM dITihd 


No. 7 
SEBASTIEN LECLERC ve ad eat 


FRENCH SCHOOL ’ 
COT LL, Cban, 
1676-1763 Poh kogie Oe 


Leclere, called Leclerc de Gobelins, was the eldest son 
of the famous engraver of the same name. He was ad- 
mitted into the Academy in 1704. He exhibited in the 
Salons of 1737, 1747, and 1751. He died in Paris at the 
Gobelins. 


4, 


BLIND MAN’S BUFF 


A scene of outdoor merriment from the epoch when nobles affected 
the sports of country folk and considered themselves dressed as rustics 
if they put a scarf around their heads and carried a shepherd’s crook. 

The young gentleman all in red is “It,” and the young woman mostly 
in pink expresses fear lest he should catch her. A youth seizes the chance 
to put his arm around her waist. ‘Two others conceal themselves behind 
atree. Behind the blindfolded youth is an older lady with a long-handled 
spade in her hand to which a pink ribbon has been tied in order that it 
may not be too rustic and real in her fair hands. 

Strong colors and lively figures. A curious specimen of eighteenth- 


century decorative art. 
On canvas; height, 334 inches; width, 32 inches. 
Collection: Sotomon, Paris. 


No. 8 


) JO G. B. WILLCOCK 
ENGLISH SCHOOL 


1820-1852 


Of this painter, of whose work the London National 
Gallery has lately bought an example, little is known. He 
exhibited twelve paintings in the Royal Academy between 
1840 and 1851. His death was caused by a cold, caught 
while painting on Hampstead Heath. <A writer has said of 
him: “ His work is so like that of Constable that it is very 
possible that unscrupulous persons have often removed his 
signature and sold his pictures as those of the greater 
master.” 


: y) ; ie Lied 


A LANDSCAPE 


A valley in some western county of England, perhaps Cumberland, 
through which loiters a trout stream dammed here and there to turn a 
mill. In the foreground a couple of young girls sit beside their baskets 
with a white cock between them. Near by an old woman and man are 
loading a donkey cart with straw. 

In the middle distance a grove of elms rises near the millhouse. 
Human figures and cattle are seen at this plane and farther back. ‘The 
cliffs and hills to right and left are painted with equal fidelity and skill. 
A pale blue sky, almost covered with fleecy clouds, finishes a very brilliant 
little landscape of the school ushered in by Constable. 

Fine atmospheric suggestions and uncommon attention to structure 
in the landscape. Remarkable perspective, good tones, approaching 
a rich gamut of color. 


On canvas; height, 234 inches; width, 23} inches. 


EFLORACE WALPOLE 


ALLAN RAMSAY. 
tvs —17s 4. 


Cok | we! SO 


No. 9 


JOHN GLOVER UA BAAN gid 
ENGLISH SCHOOL 2 
Spe a ee 
1767-1849 Ci 


After teaching and practicing art in Litchfield, Glover 
went to London in 1805. He became President of the 
Water Color Society in 1815. In 1824 he took a leading 
part in founding the“ Society of British Artists,” where he 
exhibited till 1880. The following year he emigrated to 
Australia. ‘“‘ Glover’s art was fashionable, and his works 
commanded high prices during his lifetime.” 


SUNSET ON THE COAST 


_ Restful and delicately tinted landscape in southern England, at a 
late hour in the afternoon just before sunset. ‘To the right is a grove 
on height; to the left a hillock by a road on which a group of young 
people advance. A pretty girl of an English type sits the panier saddle 
on the back of a donkey; two boys and a dog accompany her. 

These figures stand out against a lake far below, over which the mists 
are still creeping. Ridges and a lofty hill are in the distance. On the 
point of this hill rises a tower or a lighthouse against the pearly sky. 
Sill farther back is a broad bay with land to right and left. Scattered 
clouds enliven the sky, which varies from pale blue in the zenith to very 
pale yellow round about the setting sun. 

Vapor-laden air is beautifully suggested by the tones of landscape 
and far-off sea. The foreground is mellow with browns and yellows, 
against which the colors of the garments in the little group shine to 
advantage but do not break the spell of quiet harmony. 


On canvas; height, 20 inches; width, 28 inches. 


No. 10 


2§0 — JAN VAN RAVESTEYN 
DUTCH SCHOOL 


fa —— 
eer Ei ale tore 1580-1657 


Ravesteyn was born in The Hague, where his master- 
pieces are found to-day. Few particulars of his life are 
known. “ His portraits are full of strength, life, and truth, 
and finely modeled. His color is clear and harmonious. He 
painted with care and understanding.” 


PORTRAIT OF DUTCH LADY. 


Superb portrait of a Dutch lady who may have been a burgomaster’s 
wife. ‘The cambric cap, ruff and cuffs are beautifully wrought. ‘The 
pale green tablecloth, yellow where the light strikes a fold, and the 
sapphire and ruby rings on her left hand, indicate that despite the extreme 
severity of her attire she belongs to a wealthy family. 

The calm face painted with a modeling almost Holbein-like in 
sincerity, the firm lips and chin, indicate a woman accustomed to be 
obeyed. She is a type of the Dutch Huysvrouw in the seventeenth 


century. 
On panel; height, 39 inches; width, 29} inches. 
Collection: Brswicx, England. 


CHRIS T- CHILD AND ST. JOHN. 


Dom ALONSO M.DE TORPAR 


1S 7H is Se. 


No. 11 


JOHN BERNAY CROME PLE sO 
ENGLISH SCHOOL —, , 
tae See SMe 
1769-1821 Anat sh CSLeatiier 


J. B. Crome, the son of “Old Crome,” was born in 
Norwich and educated as a painter. From his nineteenth 
year he was a contributor.to the Royal Academy exhibi- 
tions. His works possess great merit, although he has been 
overshadowed by the reputation of his father. It is some- 
times difficult to distinguish between the works of the elder 
and younger Crome. 


ENGLISH RIVER SCENE 


Moonlight scene on an English river in which the British painter has 
emulated the pictures of Van der Neer. The full moon is breaking 
from clouds beyond a windmill, and the sails of anchored fishing boats 
cast a soft wake on the smooth stream. On the left a scow is just leaving 
the bank with cattle, sheep and peasants. Its sole sailor, the ferryman, 
stands in the stern to scull the heavy craft to the other side. Above 
. Yises a mass of trees in whose shade the trunks are dimly seen. 

A peaceful and beautiful landscape. Great depth and pearliness 
of sky about the clouded moon. 


On canvas; height, 23 inches; width, 32 inches. 


No. 12 


aero JOHN RILEY 
ENGLISH SCHOOL 


0 bran clert 1646-1691 


Riley, pronounced by Horace Walpole “ one of the best 
native painters that has flourished in England,” painted the 
portrait of Charles II, and was the favorite portrait painter 
of James II and of William and Mary. His best works 
are falsely ascribed to Sir Peter Lely, and he was fully the 
equal, if not the superior, of Sir Godfrey Kneller. Several 
of his works are in the National Portrait Gallery. 


A LORD CHANCELLOR 


Gorgeously decorative is this picture of a high lord of the law in his 
long red gown of cloth lined with old rose silk, in his stately wig and bands 
of rare lace falling from the neck in front. He is posed with dignity, 
if not majesty, to have his portrait taken for some public place, a guild 
hall or college of which he has been a benefactor. ‘There is something 
about this picture which removes it from the category of portraits for 
the family. It is a presentation piece, sumptuous in color and impressive 
in pose and expression. 


On canvas; height, 50 inches; width, 40 inches. 
Collection: Mrs. GOLDBERGER, Hampstead, London. 


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No. 13 
PIETER C. VAN SLINGELANDT 2 7%-/ —— 


DUTCH SCHOOL 4 be ‘ 
Ge . CT lo CE; ’ Chg Ete L 


1640-1691 
He was born at Leyden, and was a pupil of Gerard Dow. 
He followed the style of his master, but must also have been 
influenced by the works of Peter de Hooghe. He was very 
painstaking, and his pictures are greatly admired. Exam- 
ples of his works are found in the galleries of Amsterdam, 
Dresden, Munich, and in the Louvre. 


THE MUSIC LESSON 


Pleasing and natural scene from family life, with strong chiaroscuro 
to accentuate the important parts. A group of two young men and one 
lady, so arranged that their heads form the center of the composition, 
are about to have some music. One man leaning over the back of a chair 
is conning his score; the other, cloak over arm and hat on head, has just 
entered the enclosed loggia where the others are. ‘The lady tries the keys 
of the spinet and half turns to the newcomer. His instrument, a horn, 
lies on a table to the left with a book. 

Note the arrangement of the reds and pale rose, the tesselated pave- 
ment, and the boldly carved sphinx which supports the keyboard of this 
forerunner of our pianos. Most pleasing in composition and color. 


On canvas; height, 23 inches; width, 21 inches, 
Collection: Appt Barrer, Nancy, France. 


No. 14 
320-——~ — jyUSTUS SUSTERMANS 


TH. : HK oop tA ie 3 FLEMISH SCHOOL 


1597-1681 

Sustermans, born at Antwerp, first entered the studios 
of De Vos and Pourbus, then traveled in Germany and 
Italy, finally making his permanent residence in Florence. 
He devoted himself almost entirely to portraiture, becom- 
ing the favorite court painter of the Medicis. His work was 
highly esteemed by Rubens and Van Dyck, the latter paint- 
ing his portrait. 


VITTORIA DELLA ROVERE. 
(Wife of Ferdinand II de Medici.) 


An allegorical painting combined with a portrait. The handsome 
lady with brown curling hair to her shoulders, two fine gold chains round 
her neck, and her gown fastened in front with a jewel representing a 
tortoise, holds under her left hand a treasure of ducats, pearls, jeweled 
crown and coins. In her right she has another tortoise-shaped jewel 
from which depends a big pear-shaped pearl. In front of her rises a 
little genius or cupid who looks at the spectator, points to the jewel and 
says (see the scroll), “Non lassar la magnanima tua impresa”—‘ Do 
not fail of your great-souled undertaking.” 


On canvas; height, 35 inches; width, 284 inches. 
Collection: J. CouprErc, Paris. 


WILLIAM GE ie 
SUES RS Oi BB Sa Need BO Sl leek a 


1628 S11 72 33- 


Cth 6 we =o. 


No. 15 
JAN WIJNANTS 5: AY ee 


DUTCH SCHOOL / id 
f Necte, Agent 


Pe 


1600-1670 C 
Wijnants, born at Haarlem, was one of the principal 
founders of the Dutch School of Landscape Art. He is 
said to have been the teacher of Philips Wouwermans and 
of Adriaan Van de Velde, but little is really known of his 
life. He died in Amsterdam. In the rendering of sky and 
landscape he was a master of the first rank, but he had little 
facility in the painting of figures and animals. He is well 
represented in most of the leading European galleries. 


A LANDSCAPE 


Three small groups of men, dogs and other animals enliven this land- 
scape, all carefully painted. ‘The subject, “Hunting scene,” or “ Return 
from the hunt,” is the excuse for a fine landscape with scattered groves 
beautifully studied and drawn, and a mellow distance. Near a couple 
of aged beech trees, to the left, rises a cabin with high pitched thatch, 
and before it a square pigsty at which stands a woman considering with 
rapt attention the interesting contents as she empties a pail of food 
into the enclosure. 

Pale golden sunlight falls from left to right. Delicate atmosphere 
effects, and a remarkable feeling for construction, show that Wijnants 
was a good deal more than a painter of still life. 

Signed, lower left, J. WisNANTS. 


On canvas; height, 264 inches; width, 31} inches. 
Collection: GILMORE. 


No. 16 


LAb— ROBERT TOURNIERES 
FRENCH SCHOOL 


uryeat Potley 1676-1752 


Tourniéres, born in Normandy, pursued his art studies 
in Paris. In 1702 the Academy received him as a portrait 
painter, and in 1735 he was made Professor. He was a 
favorite of the Regent of Orleans, who frequently visited 
his studio. Several of his works have been engraved. 


GENTLEMAN WITH A JEWEL BOX 


The half-length portrait of a French gentleman is painted, so far 
as the features are concerned, with a faithfulness and exactness in 
drawing that suggest Holbein. The suspicion of hardness thus occa~ 
sioned vanishes as one considers the admirable miniature work in a life- 
sized picture. 

Here is a portrait of a good husband who is about to present his wife 
(see the lady playing the organ) with a pair of big earrings set in silver 
and decorated with rubies and garnets. 

A rich court costume such as we would now call a uniform, a close- 
fitting wig of curly gray hair, a queue, broad braidings of gold bullion 
and broad buttons of gold, small buttons of glass, fine transparent laces 
down the front and at the wrists, constitute a toilet such as is required 
at court. 

Well-drawn hands, and intelligent, alert expression. 


On canvas; height, 314 inches; width, 23} inches. 
Collection: CoupERc, Paris. 


Se S071 7, 


SEAQAS 3 SISter aan 


CIES EN A as EUAN Pa ea Oe = 


AW OD BM#OTOD F FATTNVADOLOVH GS 


No. 17 
ROBERT TOURNIERES SS 


FRENCH SCHOOL we, ; 
wy CLL (yay (ie 
1676-1752 


Tourniéres, born in Normandy, pursued his art studies 
in Paris. In 1702 the Academy received him as a portrait 
painter, and in 1785 he was made Professor. He was a 
favorite of the Regent of Orleans, who frequently visited 
his studio. Several of his works have been engraved. 


PORTRAIT OF A LADY 


A lady plays an organ, while holding in her left hand a score of music. 
Her rose-red dress is frilled and laced. Her hair is an enormous tower 
secured with silk ribbons and a buckle, decorated with a big rose and 
plentifully powdered. 

Strongly individual face, almost Holbeinlike in drawing. On the 
instrument is a candlestick and candle, but not lighted. Probably the 
portrait of a musician and distinguished in her day. 


On canvas; height, 39} inches; width, 32 inches. 
Collection: Couprrc, Paris. 


No. 18 


ee PEDRO DE MOYA 
J Sb 


0 


SPANISH SCHOOL 


Cum — 
1610-1666 


After beginning his art studies in Seville, Moya, in 
order to see the works of Rubens and Van Dyck, enlisted 
as a foot-soldier in the army of Flanders. He was so cap- 
tivated with the works of Van Dyck that he went to Lon- 
don in order to become his pupil, but Van Dyck died shortly 
after his arrival. Returning to Spain, where he had some 
influence on Murillo, he settled in Grenada, where he painted 
altar-pieces for the churches.. The influence of Van Dyck 
is noticeable in his work. 


THE FLIGHT INTO EGYPT 


A New-Testament scene, almost gay in sentiment, shows St. Joseph, 
the Virgin Mary, and a gracious male angel walking along, the Virgin 
and the angel each holding one hand of the little Christ-child. In the 
distance is a river suggesting the Nile; and behind the group are palms 
and the peak of a pyramid. 

The angel has a lovely expression on his face. He wears an old-rose 
undergarment to the waist, matching the color of his wings, and on this, 
crossing the left shoulder, a pale golden toga or wrap. He is making 
himself useful, for in the left hand he carries a bundle wrapped in a blue 
striped cover. 

The Virgin also has a sweet face. With her right she is showing her 
son the valley of the Nile. St. Joseph marches to the right of the group. — 
Good movement, gracious lines, lovely tones—an unusually attractive 
canvas full of naivété and charm. 


On canvas; height, 65 inches; width, 47 inches. 


DUKE OF PARMA. 
MARTIELTA TINTORETTIO. 


DSO 


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Cad - 


No. 19 


WILLIAM DOBSON he 
ENGLISH SCHOOL op tp ecole 
1610-1646 ~ 


The story is told that Dobson was living in poverty and 
obscurity until Van Dyck, happening to see one of his 
pictures in a shop window, hunted him up, presented him 
to Charles I, and zealously recommended him to his Maj- 
esty’s protection. After Van Dyck’s death Dobson was 
appointed sergeant-painter to the king. When Charles 
died, Dobson was thrown into prison for debt. A patron 
released him, but Dobson did not long survive, dying at the 
age of thirty-six. His portraits have been called “ faithful 
transcripts of nature.” 


PORTRAIT OF A GIRL 


Little girl with big pearl earrings and on a narrow ribbon a necklace 
of small pearls. Soft, pale brown hair in ringlets down her neck and 


small “spit curl” on her temple. She has a vivacious look in her large | 


dark blue eyes, and a good deal of character in her face. Faint eyebrows 
and a well-shaped chin. ‘The painting of the hair and dress recalls 
Van Dyck. 

On canvas; height, 174 inches; width, 14 inches. 
Collection: Witu1AM Raprorp, Plymouth, England. 


No. 20 


/.OS$0 SIR HENRY RAEBURN 


a 


ve 


ENGLISH SCHOOL 
yt 


? ® 
YE Ss sh 1756-1823 


The life of Sir Henry Raeburn was unbrokenly devoted 
to portrait painting. Excepting a short time passed in 
London and two years of study in Italy, his days were spent 
in Edinburgh, where he was soon recognized as the head of 
the Scottish School. In 1815 he was elected member of the 
Royal Academy, and he was knighted by George IV in 
1822.. “ His reading of character is peculiarly shrewd and 
convincing; each of his pictures has a directness, a power, 
and sometimes a subtility of handling, which places his work 
among the finest achievements of portrait painting.” 


JOHN PHILPOT CURRAN 


A pale determined-looking young man with rather short nose, long 
upper lip and large mouth. ‘This picture has intellect in the well-shaped 
brow and clear-cut eyesockets. A rather thick underlip and long chin 
add to the strong individuality of the man. It is not difficult to imagine 
this orator holding the old Irish Parliament in Dublin spellbound by 
his eloquence. 

Well set off against a dark red curtain. Curran sits on a dark green 
chair the back of which shows to the left. 


On canvas; height, 80 inches; width, 25 inches. 


CS RN alone co 


“9991 — 961 
“ “"NS3A0D NVA NVC 


No. 21 


GEORGE MORLAND Bi 2f— 


ENGLISH SCHOOL 


Vag: : CAA C4 
1763-1804 a hate spe 


Morland’s father and mother were both artists, and his 
own art instruction was so successful that he began exhibit- 
ing at the Royal Academy when he was fifteen years of 
age. He produced a great number of works, which, by 
reason of the growing demand, are becoming increasingly 
valuable. He produced a few portraits, some very success- 
ful pictures of children at play, but his fame rests principally 
on his examples in which pigs, horses, cows, and sheep are 
introduced. 


THE BARNYARD 


A quick sketchy rendering of a simple barnyard scene. The milk- 
maid has filled her pail and pours its contents into a wooden receptacle, 
Two others, partly filled, are in the foreground. Another woman stands 
on the right waiting to fill her brown jug. Behind her is a little boy who 
clings to her skirts, frightened by the pigs, that lie on the straw to the 
left. A barrel and broom are to the right, and beyond are a rude tall 
fence and bit of ancient thatch. The gnarled tree and rude barn in the 
back are very realistic. 


Signed on the barrel, extreme right, “G. Moruanp.” 


On canvas; height, 25 inches; width, 30 inches. 


Collection: James ALLAWAY, 1876. 
Collection: Rev. F. I. Apricu-Biake, Welsh Bickner, Herefordshire. 


x 


No. 22 


/ft-— THOMAS HUDSON 
ENGLISH SCHOOL 


YY S Ree 
Ate 1701-1779 


- Hudson was for many years the most fashionable por- 
trait painter of his time. He was the master of Sir Joshua 
Reynolds, by whom his popularity was eclipsed. Good. 
specimens of Hudson’s work exist in the National Portrait 
Gallery and in the palaces of England. 


PORTRAIT OF A LADY 


The young woman who sits for her picture a trifle stiffly in an oval 
architectural framework wears the suspicion of a smile, as if she knew. 
well how to laugh but would not for the world. The gray silk dress, very 
loose about the shoulder, with its rose-colored lining turned back below 
the breast where the ruffled edge of the chemise shows, is capitally 
managed as to its broad folds, and a fine bit of painting. Dark hair, 
without flower or jewel, rolls down the back and forms a background 
for the silhouette of the neck. 


On canvas; height, 30 inches; width, 25 inches. 


INIGO JONES. 


raw 6S TON E. 
?_ 168383. 


oat moe .NS- 


No. 23 


HENRY STONE fff: Ee ones 


ENGLISH SCHOOL “ 
Gf, ve ’ Cert, 
—1653 : 


Henry Stone, called “Old Stone,” to distinguish him 
from his younger brother John, was a painter and sculptor. 
He passed several years in Holland, France, and Italy. He 
devoted himself largely to copying the works of Van Dyck, 
and many portraits ascribed to Van Dyck were really the 
work of “ Old Stone.” 


INIGO JONES, THE ARCHITECT 


“ Firm and satisfactory portrait, simple and direct. In his black skull 
cap, black coat and deep cambric collar, brown curly wig and snow-white 
beard and mustache, the famous British architect-looks every inch an 
artist. He has finely modeled features and a piercing look. ‘The brown 
background is excellent for the brown hair and black cap. He has 
turned his head to one side as if regarding something attentively 
to the left. 
Note the appropriate architectural surrounding, an oval opening in 
a wall. 
On canvas; height, 284 inches; width, 264 inches. 


Cy fee ye 


Joo 


j/ 


LD 


No. 24 
NICOLAAS MAES 


Pf fos aes DUTCH SCHOOL 
C/E it 
1632-1673 


Of the life of Maes, or Maas, very little is known. He 
first studied under Rembrandt in Amsterdam, and in his 
earlier pictures closely followed the style of his master. 
About 1665, leaving Rembrandt’s studio, he removed to 
Antwerp, where he lived until 1678. Returning to Am- 
sterdam he remained there until his death. The strange 
variance in the style of Maes’s earlier and later works has 
puzzled art students and has raised the question as to whether 
possibly two artists existed of the same name. Maes must 
be counted among the great artists that Holland has pro- 
duced. 


FAMILY GROUP 


Naive grouping of a family of Dutch people. The husband and 
wife look directly at the observer; he lays his left hand on her shoulder 
and puts his right on his bosom. The small girl sits on her mother’s 
lap; the little boy is excitedly telling her something. 

Beautifully quiet and reserved drawing of faces, heads that fade softly 
into a yellowish-green background, expressions dignified. ‘Though there 
is no exact center of interest, and the hands are somewhat summary in 
treatment, each figure here is a beauty by itself and extorts admiration 
for its sincerity and perfect poise of workmanship. 


On canvas; height, 204 inches; width, 174 inches. 
Collection: Princess Maruitpe, Paris. 


MELO Gwy NINE... 


S25 Mestre Ro eI. 
1617-1680. 


Pe a > ee oe 


No. 25 


SIR PETER LELY pitbol el 
ENGLISH SCHOOL (rv r y 
\ OR ect 
1617-1680 C, OKs 8 


Lely, born in Germany, educated in Holland, came to 
England so early in his career that he is counted a member 
of the English School. He was patronized successively by 
Charles I, by Cromwell, and by Charles II, the latter of 
whom appointed Lely his principal painter, and made him 
a baronet. The number of his portraits is large, but the 
pleasing color and quality of his work, with the broadening 
public appreciation, is steadily increasing the value of his 
canvases. 


NELL GWYNNE TAKING MUSIC LESSON 


The young man with a Neapolitan cap on his head, the face in half 
shadow, and Nell looking at the music he holds, her face in full light, 
form a group of amateur musicians whose simple intentness on their 
task is one of the subtle charms of the picture. The singing youth and 
lute-playing lady, each different in tone of skin and color of hair, are 
delightfully serious. 

The two browns in her dress, and the deeper brown of his coat are 
splendidly painted. Observe the beautiful folds in the drapery. 


On canvas; height, 50 inches; width, 40 inches 
Collection: J. Oaxtny Maunne, Esq., England. 


No. 26 
4 


4) G | A fleece JOB BERKHEYDEN 
4 Lee tecé~, DUTCH SCHOOL 
C Onetly / 1638-1693 


Berkheyden or Berck-Heijde was born in Haarlem. 
From earliest youth he was devoted to landscape painting. 
His brother Gerrit encouraged him in his work. He always 
enriched his landscapes with small figures. “ His careful 
study of nature enabled him to give an appearance of air 
and sunshine to his pictures, producing a very agreeable 
effect.” He met with great success both in Germany and 
in Holland. He was accidentally drowned in a canal at 
Amsterdam. Good examples of Berkheyden are found in 
the museums of Amsterdam, Berlin, and Dresden. 


DUTCH LANDSCAPE 


A country seat in Holland with high gabled buildings seen through 
the trunks of stately trees. A stone bridge over a canal carries the road 
on which horses, and a man in a dull red coat on a dapple gray horse, 
are moving away from the spectator. A couple of boors are on the left 
foreground; to the right opens up the arable land with a village spire 
in the distance. | 

Sunlight falls unevenly on road, buildings, a flock of sheep beyond 
the canal to the right, bringing out the white haunch of the horse, the 
dog behind, the figures on the bridge. Fine sky full of cumulus clouds; 
delicate painting of foliage, agreeable distribution of soft light and shade. 
A charming landscape, painted with great repose and distinction. 


On canvas; height, 19 inches; width, 23} inches. 


Ea) 


GEORGE IV. 


SIR WILLIAM BEECHEY. 


Lye. 1339 


eK | pr | V7] 


No. 27 


SIR WILLIAM BEECHEY = 9 7/7 
ENGLISH SCHOOL 


1758-1839 x. La Levee ? 


Beechey, originally intended for the legal profession, 
soon entered as a student in the Royal Academy. Por- 
traiture attracted him from the very first. He was much 
patronized by George ITI, and at the age of forty was made 
portrait painter to Queen Charlotte. “In his portraiture 
of men, he seems to have been deeply imbued with a com- 
mand of character and expression; and in those of ladies, 
grace and beauty are ever pervading.” 


GEORGE IV, WHEN PRINCE OF WALES 


British painters of the late eighteenth and early nineteenth centuries 
had a taking way of painting the powdered hair which was still in vogue. 
Sir William Beechey understood how to melt these grays into the darker 
background. Here we have also rich effects from the dark blue coat 
edged with gold braid and the salmon-colored waistcoat which peeps 
along with the lace tie from the open coat. 

The darkened upper lip clean shaved, the dent in the chin, the double 
chin and curling lips give this prince a decidedly individual character. 


On canvas; height, 30 inches: width, 25 inches. 
Collection: G. A. Dorrrry, Birkenhead, England. 


No. 28 


ii f Jf — NICHOLAS LANCRET (SCHOOL OF) 


P 


FRENCH SCHOOL 


r, > 
| te fom 
fe : EIGHTEENTH CENTURY 


Lancret, the follower and later the pupil of Watteau, 
painted the decorative Fétes Champétres and Galantes, 
which are so attractive by reason of their grace and color, 
and which adapt themselves so harmoniously to the Louis 
XV and Louis XVI rooms so much in vogue. This exam- 
ple was painted in the time of Lancret and is fully worthy 
of his brush, yet we think it more conservative not to attrib- 
ute it direct to him, but rather to ascribe it to his School. 


FETE DE FAMILLE 


An afternoon reception on the grounds of some great country place 
in which the architectural part, consisting of a high terrace with balus- 
trade and urns, recalls the terraces inside the garden of the Tuilleries. 
It is a family féte in which children are present. ‘Two girl children and 
a dog chasing a butterfly are in the foreground. 

A golden light falls on the central group consisting of a man, in soft 
beret ruffled collar and wine-red coat and half-hose, who is presenting 
one lady to another. To the left is a woman in pink seated with a basket 
of fruit and at her feet a white dog. 

Lovely tones in the clouds, foliage, and gowns of the women. 


On canvas; height, 284 inches; width, 394 inches. 
Collection: Apsé Barsier, Nancy, France. 


er is 
~PCZ14 WS 


Sere ee Net) dele one 


ae eee ee) eC) a 


No. 29 


JEAN BAPTISTE SANTERRE Fi. f— 


FRENCH SCHOOL y K LZ, of. 
Cte TGV) 


1658-1717 


Santerre, the pupil of Bon Boulogne, painted compara- 
tively few works. Two of his pictures, one a lady’s portrait, 
are in the Louvre gallery. “ His portraits are carefully 
designed and harmonious in color.” Most of his pictures 
have been engraved. 


LADY WITH MASK 


A young woman, with her hair powdered snow white, stands near 
the conventional column and curtain, dimly seen in the background, 
and turns her face to the spectator, having just removed a black mask. 

Dressed in a black velvet dress with puffs on the shoulders, her 
gown is further embellished by slashes on the shoulder puffs and upper 
arm, through which the red silk lining shows. Gold braid about the 
neck of the low-cut waist, the edges of the slashes, etc., forms a rich con- 
trast to the black dress. 

Firm gaze from eyes, rich lips, solidly modeled features. The 
moment chosen is the unmasking after a dance, or just before a supper, 
such as one reads of in Shakespeare. 


On canvas; height, 33} inches; width, 26 inches. 


No. 80 
Af Wf Seve WILLIAM HOGARTH 


eut~ ENGLISH SCHOOL 
¢ heake , “4 1697-1764 


Hogarth, the school-teacher’s son—‘ the first man of 
genius in the native British School ”—was born in London. 
After an apprenticeship to a silversmith, and following a 
long period of work as an engraver, he finally developed 
into a painter in oils. The brilliant character of his work 
is too well known to need comment. It is very unequal, but 
at its best his pictures possess an abiding charm. 


ALEXANDER POPE 


In a dull red coat, loosened at the neck so as to show the chest, sits 
the lame arbiter of poetic lore, who, at Twickenham-on-Thames, made 
Latin Horace his model. A wonderful green velvet turbanlike cap 
embroidered in gold covers Pope’s head, which is cropped for the sake 
of the big perukes then in fashion. 

Fine masculine broad painting by this reviver of British Art. Ob- 
serve the boldness of line in the straight right angle formed by the left 
elbow; also the excellent craftsmanship in the melting of the olive velvet 
turban in the dark gray background. 

Pope is shown in negligée holding a sheet of paper and turning his 
face to his left, as if reading aloud to a friend. 


On canvas; height, 26 inches; width, 21 inches. 
Collection: Miss Hocartu, a relative of the family. 


(¢ > 11 Fla > 


: “SOLO OT 
ASE eS ai I 4S) OTN OL Sv 


No. 81 


ANTONIO CANALETTO Yh aes 
ITALIAN SCHOOL Fa 4 
1697-1768 Aery ea? 


Canaletto was the pupil of his father, a decorator and 
scene painter. After an apprenticeship at theatrical deco- 
ration and study in Rome, Canaletto returned to Venice and 
devoted himself to painting Venetian views, “which, for 
their great truth to nature and for their extraordinary effect, 
perspective and color, met with immense success, and are 
still most highly esteemed.” ‘The principal public galleries 
of Europe possess works of this master. 


A CANAL IN VENICE 


Marine with plenty of soft pale sunlight and feeling for perspective. 
On the left is the Dogana, or custom house, with the domes of Sta. Maria 
della Salute behind. This part of the Grand Canal has changed greatly 
since the picture was painted. The houses on the right hand have also 
been largely rebuilt and improved in architecture. 

Very curious ancient view of this celebrated spot, a historic document 
which would be greatly valued by the Venetians. 

Mellow tones with primitive architectural drawing. Good painting 


of gondoliers and sailors. 
On canvas; height, 36 inches; width, 47} inches. 


No. 82 


ts a JAN VICTOORS 


DUTCH SCHOOL 


Pe a ce nw fut 1615-1670 (1620-1672) 


Victoors was a scholar of Rembrandt, working in the 
master’s studio from 1635 to 1640. Little is known of his 
life. Some of his finest historical works have been attrib- 
uted to Rembrandt. His portraits are full of character 
and strength. | 


A DUTCH GENTLEMAN 


A fine type of the man who made Holland famous for her commerce 
and colonies, her learning, wealth and high civilization. ‘This is a 
%e portrait of a syndic or burgomaster, a gentleman yet a plain man, as 
“4 his simple collar and cuffs, his unadorned gloves prove. ‘The modeling 
; of eye sockets, cheeks, nose and chin is masterly. ‘The black hat 
melts finely into a plum-colored curtain. Observe the splendid flesh 
painting in the face and the individuality of the sitter expressed by the 
brows, one being considerably higher than the other. It is a rugged 
visage that holds the attention and inspires confidence in the man. 
The gesture of left hand to breast undoubtedly refers to the portrait 
of his wife by Victoors which follows. It is a naive expression of con- 
jugal attachment. 


ae On canvas; height, 404 inches; width, 334 inches. 
Collection: Ruston Hay, Northampton, England. 


see, | Sa) Gee aare 
NGS HS mee OL FAS Fe 


pots mr» Se 


Bruker Vat TOON S. 
1615 ~ 1670. 


OF] me. 3% \ 


No. 33 


JAN VICTOORS he rT gp SR 
DUTCH SCHOOL 


1615-1670 (1620-1672) OE Age cit 


Victoors was a scholar of Rembrandt, working in the 
master’s studio from 1635 to 1640. Little is known of his 
life. Some of his finest historical works have been attrib- 
uted to Rembrandt. His portraits are full of character 
and strength. 


A DUTCH LADY 


A Dutch matron between thirty and forty, soft in modeling of mouth 
and chin, candid eyed and but little given, it is clear, to the pomps and 
vanities. Yet her severe cambric doubled collar is a trifle wide, and 
underneath is a double row of pearls. A large curious pin fastens the 
collar in front. Fine lace is seen in the cuffs, and her left hand lies on 
an ostrich feather fan. The dark blue velvet dress sets off very well 
her blond curling hair and fresh complexion. 

She is entirely different in character from her husband, but not less 
individual in her way. The two portraits are types of Dutch people 
of the wealthy class who may be found in Holland to-day. 


On canvas; height, 404 inches; width, 334 inches. 
Collection: Rusaton Hau, Northampton, England. 


age ae le ee ee 


No. 84 
bb 2J —— * PIERRE VALENTIN 


[3 | FRENCH SCHOOL 
fue beg 
YAP ° 1600-1684 
Comparatively little is known of the life of Valentin. 
When very young he found his way into Italy. The paint- 
ings of Caravaggio had a strong influence on him. The 
scenes most congenial to Valentin are those representing 
gamesters, musicians, gipsies, etc. Examples of his works 
are found in the principal galleries of Europe, especially 


in the Hermitage and in the Louvre, and they are greatly 
prized by art-lovers. 


THE CARD-PLAYERS. 


A young man, in a colored coat and dull red cloak over his arm, 
shows four cards to a comely young woman in pale pink dress, low neck. 
She leans against him and puts her right hand on his arm as if to stay 
him from his next play. A square ruby is in the ring on her little finger. 

The light of an unseen candle throws a powerful glare on these two 
faces and glistens on the gold and silver coins which lie on the brown 
tablecloth. The large silver coin appears to be English. It has a 
cross and a lion. 

Hard, firm painting and robust drawing in the faces. Agreeable 
combination of red, brown, and pink. Striking in composition and 
in execution. 


On canvas; height, 34 inches; width, 28 inches. 
Collection: Drpasst, Paris. 


tak, CAR D=PLAYERS 
Per E. SAN TN 


No. 35 


PIERRE MIGNARD ts bo — 
FRENCH SCHOOL Ae Mae Sb SDE 
1610-1695 


Although intended by his father for the medical pro- 
fession, Mignard showed such an early passion for art that 
he began as an art student at the age of twelve. After 
various instruction in France, principally in the studio of 
Vouet, he set out for Italy in 1635, where he remained 
twenty-two years. Recalled to France in 1657 by royal 
command, he was largely patronized by Royalty and by all 
the court beauties. 


DUCHESSE DE BOURGOGNE 


A princely luxury is shown by this grande dame in her dress and jewels. 
Not content with the rich lips and attractive contours nature gave her, 
she must wear an ermine-lined cloak covered with Bourbon lilies, so 
that no one shall forget her lineage. At her ears are pearl drops of 
immense size, and over her shoulder runs a chain of great cabochon 
rubies alternating with big round pearls. Her hair is a creation of the 
court coiffeur; and the painter has sought to give her a mingled air of 
virginal sweetness and royal condescension. In the dark background’ 
one can still distinguish the feathers which completed this gala toilette. 


On canvas; height, 29 inches; width, 23} inches. 


No. 86 
Lf pe eed CAMILLUS HONE 


- Qectly iy wit ENGLISH SCHOOL 
EO 1745-1887 
Camillus was the younger son of his more famous father, 
Nathaniel Hone. He would, no doubt, have achieved very 
great reputation if he had not given up painting for a gov- 
ernment appointment in Dublin. Hone exhibited in the 


Royal Academy from 1775 to 1780, and then practised por- 
trait painting for a few years in the West Indies. 


PORTRAIT OF A BOY 


A child of cavalier parents, this young scion of a distinguished family 
wears his slashed and frogged blue coat—a blue softened by age to a 
steel gray—and his deep lace collar with perfect ease. He gazes intently 
from the canvas with a look older than his years. His left arm is around 
the neck of his setter dog, out of whose eyes comes a rarely intelligent gaze. 

Delightful family portrait, easy and natural in style. 


Signed, wpper left, C. Honn, pinxit, 1778. 
On canvas; height, 80 inches; width, 25 inches. 


Ove ree 


Walaa SH) 


JOHN CONSTABLE. 


LO 7 ee RS re 


Lot ino. OF 


ra 


No. 87 


JOHN CONSTABLE iE ZOO 
ENGLISH SCHOOL 


1776-1837 $F Vella (¢ lai G bey K 


Constable, the son of a wealthy miller, had great diffi- 
culty in obtaining the consent of his father to pursue his 
_ natural bent for art. From the very beginning he devoted 
himself to landscape painting, and the multitude of his 
sketches preserved in the South Kensington Museum attest 
his industry and genius. His work was not adequately 
appreciated in England until 1824, when three of his ex- 
amples were exhibited in the Paris Salon. The French 
commissioners greatly admired these canvases, and were 
astonished at their power. The King of France awarded 
Constable a gold medal. This attracted the attention of 
Constable’s countrymen to his superior merit. There is a 
steadily growing number of art-lovers who regard Con- 
stable as by far the greatest landscape painter that England 
has produced. 


THE LOCK 


Scene probably on the river Stour in England. 

A barge has been floated into a lock and the lower gate closed. Now 
the lock-keeper is engaged in letting in the water from the higher level 
while the bargee hauls the boat nearer the gates through which the 
water already begins to spout. On the left is a single oak; to the right 
two horses and some trees. ‘The distance is a typical English river 
scene with square church tower and steeple. 

Quick broad brushwork, agreeable tones, a great work of the master. 


On canvas; height, 23 inches; width, 29 inches. 


Collection: Mr. SANDERSON, Bullers Wood, Chiselhurst, England. 
Collection: Cotonet Exuis, London. 


> No. 88 


3,f00 —~ JEAN MARC NATTIER 
FRENCH SCHOOL 


fue Cf, f se 1685-1766 


Nattier’s father was an excellent portrait painter, his 
mother a miniaturist of distinction. Soon winning reputa- 
tion as a portrait painter, he was, in 1716, taken to Amster- 
dam to paint the picture of Peter the Great, then sojourn- 
ing in Holland. In 1718 he was received into the Paris 
Academy on the strength of an historical painting. 'There- 
after, however, he devoted himself exclusively to portraiture, 
being largely patronized by the beauties of the Court of 
Louis XV. In the last few years the extraordinary decora- 
tive quality of his work has been recognized, and the prices 
of his pictures have been most rapidly advancing. 


LA DUCHESSE DE CHATEAUROUX 


During the reign of Louis XV classicism produced some strange effects 
among the portraits in oils and marble. It was naturally reflected in 
the masques, costume balls, and pageants, and the grandes dames of 
the court must need have themselves reproduced as goddesses. ‘The 
Duchess of Chateauroux was one of several sisters who enjoyed tem- 
porary eminence because Louis Quinze showed them favor. Behold 
her as Diana with a sickle moon in her curly locks, a leopard skin slung 
across her soft white shoulder, a bow in her tender hands. All is softness. 
The main traits suggest Venus as well as Diana, for her mouth itself 
is curved like Cupid’s bow. 

Excellent drawing of face, chin and neck; tender brushwork; fine 
tones in the waist material falling from the left shoulder, and in the dark 
blue gown visible below the leopard’s skin. 

On canvas; height, 36 inches; width, 29 inches. 
Collection: Count p’Ertne, Paris. 
Collection: BARON CHRISTIANI, France. 


eee Teel ree I ACT CIE Fe. 
LOS —— Leo. 


No. 89 


PHILIP WOUWERMANS AEG 
DUTCH SCHOOL A Pecker. 
1614-1668 


Wouwermans’s father was a mediocre painter and his 
first teacher. Then he studied in the studio of Jan Wijnants. 
At the age of nineteen he eloped with a young woman, 
marrying her in Hamburg. By 1640 he had returned to 
Haarlem, where he seems to have spent the rest of his life. 
Although he died at the age of forty-nine, he produced a 
considerable number of works. “ His popular reputation 
depends chiefly on his horses,” but he was “a natural col- 
orist, and as a technical painter he has had few equals.” 


AT THE INN 


Lively scene of arriving and departing guests in front of a tavern 
over whose door grows an old vine stock, thus proclaiming that the 
place is one for refreshment. 

The cavalier, who is about to mount his horse and holds it by the 
bridle, turns to a lady who has just ridden up and bows low to her with 
a sweeping gesture of the hand that holds the broad feathered hat. 

The center is held by a superb little figure of a cavalier in a red coat 
on a white horse who puts his right arm akimbo. His companion has 
his foot in the stirrup and turns his head to speak to some one in the 
tavern. 

Beautiful painting of two boys wading in a pond in the foreground, 
two chickens and two dogs. ‘Tender soft tones, lovely delicate colors 
in animals and clothes. 


On canvas; height, 12} inches; width, 17 inches. 
Collection: Prince ScrarRa. 


- No. 40 


LPO ALLAN RAMSAY 
ENGLISH SCHOOL 


, 
dé eee (ot, Ett re 
EC OfeLY << 1713-1784 


Ramsay, born in Edinburgh, first studied in London, 
and then in Italy. On his return from Italy he first estab- 
lished himself in Edinburgh. In 1762 he settled in Lon- 
don, where he painted the portrait of George III, whose 
special patronage he enjoyed for many years. Being a good 
linguist and an accomplished writer, he was in touch with 
the literary men of his time and painted their portraits with 
very considerable ability. 


HORACE WALPOLE 


Readers of Walpole’s diary will conclude that he was a prudent man 
of the world who possessed a good measure of artistic taste. This 
youthful portrait shows a determination not to err on the side of orna- 
ment. It is that of a young gentleman sufficiently content with himself 
who will not be guilty of foppery but knows that simplicity in dress 
means good breeding. The ship in the offing may represent his first 
trip to the Continent. On the table by his side is a round box, open. 
His dark blue coat has no gold buttons and his collar and cuffs are fas- 
tidiously plain. 

Large planes in the handling of the face, sincere and well-balanced 
intelligence in the expression. 


On canvas; height, 353 inches; width, 282 inches. 
Collection: J. Davis, London. 


. 


4 WW 10D 


(eo eae bee ee OOO ft Olt 
Pe ae GEN Gy Scie Nea GERDA cr 


No. 41 
DAVID TENIERS Vie eee 


1610-1690 | 
gu; Peale AgeeeX 


AMBROISE BREUGHEL 
1617-1675 


AND 


Of David Teniers we speak elsewhere. Ambroise Breu- 
ghel was a painter of flowers and of landscape. He was 
Director of the Antwerp Academy from 1653 to 1670. 
Occasionally he codperated with David Teniers in the crea- 
tion of paintings similar to this example, he painting the 
landscape and Teniers sketching in the figures. 


LANDSCAPE WITH CASTLE 


Decorative picture with small full-length portraits, greatly relished 
in Holland and England during the seventeenth and eighteenth centuries, 
representing a Dutch gentleman with his falcon and wife and daughter. 
Behind him stands a youth with a brace of greyhounds; over his shoulder 
a hare which the falcon and hounds together have overtaken. 

The wife in red overgown stands to the left; beside her a much 
younger woman in a broad hat who looks at the older woman—whether 
mother or sister—with an intent gaze. 

The landscape by Ambroise Breughel has the spacious distance and 
reposeful horizontal lines which add so much to the quiet of the scene. 
Doubtless this gentleman owns the residence which peeps from the grove 
in the background. It is afternoon; two ducks are winging their way 
over the surface of the stream and others are high in air. 

Broad and confident brushwork, low notes of color, in which dark 
blues predominate. 

On canvas; height, 344 inches; width, 47} inches. 
Collection: Joun Emuens, Holgate Terrace, York, England. 


. No. 42 


3/0 —~ ROBERT TOURNIERES 
FRENCH SCHOOL 


7. WV Hebe 1676-1752 


Tourniéres, born in Normandy, pursued his art studies 
in Paris. In 1702 the Academy received him as a portrait 
painter, and in 1735 he was made professor. He was a 
favorite of the Regent of Orleans, who frequently visited 
his studio. Several of his works have been engraved. 


FRANCOIS MOUCHARD, KNIGHT AND ARMORER 


Portrait of a French gentleman whose expression is benevolence 
itself and something more; there is art and there is the tolerance of the 
man of the world. ‘The yellowish-brown velvet coat is richly edged with 
appliqué gold braid in an agreeable pattern, and the big cuffs have large 
glass buttons with enameled designs. 

Snow-white wig and fall of rich lace from the white stock, ruffled 
cuffs, a white quill and a letter folded in the old style and sealed in 
red, make a very simple but effective color scheme. ‘The background 
is dark brown below to almost black above. Beautifully drawn face 
and hands. 

It is a picture that grows on one with gazing—in its way a master- 


piece. 
On canvas; height, 394 inches; width, 32 inches. 


SARA SIDDON S. 


Sli~w a Wit TANT SE CrEY. 
Laie 7 es 3 OF 


cohi ne: 43° 


No. 438 
SIR WILLIAM BEECHEY JS DOE 


ENGLISH SCHOOL SOEs Ns 3 y, 
Ag tut 
1753-1839 COR ty seat Oe 


Beechey, originally intended for the legal profession, 
soon entered as a student in the Royal Academy. Por- 
traiture attracted him from the very first. He was much 
patronized by George ITI, and at the age of forty was made 
portrait painter to Queen Charlotte. “In his portraiture 
of men, he seems to have been deeply imbued with a com- 
mand of character and expression; and in those of ladies, 
grace and beauty are ever pervading.” » 


MRS. SARAH SIDDONS, THE FAMOUS ACTRESS 


Many times was Mrs. Siddons painted by the fashionable portraitists 
of her day. Her wide acquaintance with artists gave her weight as an 
arbitress of the arts in the London social world. 'To have her sit for him 
was a distinct advantage to the favored artist, and many a reputation, 
as we know through Haydon’s biography, was made after Mrs. Siddons 
had nodded approval to a picture in her own majestic way. 

This is a personal record of the woman rather than a picture of the 
actress. A volume of poetry in her left, with the index at the page where 
she has interrupted her reading, a plain turban round the hair, the sim- 
plest possible of housewifely gowns betoken a great personage away from 
the footlights. Broadly and easily painted is the soft scarf that passes 
round the neck and encircles the waist with a big bow behind. Clear, 
intelligent and penetrating gaze. 


On canvas ; height, 30 inches; width, 25 inches. 
Collection: Lucsur, London. 


No. 44 


ISU —~~ DON ALONSO MIGUEL DE TOBAR 


V1 


7) Lf SPANISH SCHOOL 
yl el? 


1678-1758 


Tobar was the best follower of Murillo. He was court 
painter to Philip V. Many of his works have been attrib- 
uted to Murillo. “In coloring he imitates Murillo closely 
and happily; he selects faces of the same expression, and 
draperies of the same studies; and in his more elaborate 
efforts he falls short of his model in little except his inimi- 
table roundness of forms and absence of outline.” 


CHRIST-CHILD AND ST. JOHN 


Strongly marked Spanish countenances are seen in this little group 
of children and angels. Although the child in a pale lilac robe has no 
halo, it is the figure of the Christ, and the smaller boy half kneeling is 
St. John the Baptist. He has a ragged brown covering and carries a 
cross with streamer. Behind the little St. John a lamb raises its head 
as if to the group of winged nude angels in the clouds. One tree appears 
on the right. To the left front is a basket with apples and grapes, the 
offering of the little friend. 

The Christ-child has a somewhat feminine look in face and figure. 
He bends forward as if to prevent St. John from kneeling to him. 

Sweet and delicate colors in a narrow gamut. Strong influence of 
Murillo, but softer outlines and tones. 


On canvas; height, 434 inches; width, 273 inches. 
Collection: SzeXor Navas, Madrid. 


Zs SA "O12 sw alll Oa 


ee Wick tele ay 


-NOLANOID aT 


No. 45 


JEAN BAPTISTE JOSEPH PATER Z, 7 — 
FRENCH SCHOOL ie 
1695-1736 igen ¥T lle 


Pater, the son of a wood-carver, was taken to Paris, 
while still young, to continue his art studies. There he be- 
came the pupil of his fellow-townsman Watteau, until the 
irritability of the latter caused a separation. When, how- 
ever, in 1721, Watteau felt that his end was near, he again 
sent for Pater and gave him his best instruction and part- 
ing inspiration. In 1728 he was received into the Academy. 
The fame of Pater is linked with that of Watteau and 
Lancret, and the prices of his works are rapidly advancing. 


“LE GLOUTON” 


The rollicking, Rabelaisian composition is a delicious scene of 
broad humor from the old comedy. The Glutton, having eaten all but 
the head of the sturgeon, has to be forcibly prevented from devouring 
that. A servitor is trying to remove it at the order of the physician. 
Fearing the results of his excesses, the apothecary and his assistants 
rush in, while a maid on the right mixes a medical potion. Lovely 
tones of brown, pale blue, and robin’s egg green. Animated action, 
rapid yet masterly brushwork. 


The painting has been engraved, with the following quaint rhymes, 
in the Old French, attached: 


“Un Glouton, opulent, qui faisoit ses delices 
De remplir 4 grands frais son ventre spacieux, 
Et de voir entasser 4 differents services 
Sur sa table des mets friands et précieux, 
Ordonne qu’d souper pour lui seul on appreste 
Un Eturgeon auquel on n’6te que la teste. 
Il soupe; mais bientost il créve, il n’en peut plus, 
L’Apoticaire en vain lui donne maint clistére, 
Tous les secours de |’Art deviennent superflus. 
Ah, dit-il, si mourir est un point nécessaire, 
Pour m’en dédommager, sans faire de facon. 
Qu’on m’apporte a instant le reste du poisson.” 


On canvas; height, 184 inches; width, 214 inches 
Collection: Drpass®, Paris. 


No. 46 


2o0u —- SNGIOLO ALLORI, BRONZINO 
ITALIAN SCHOOL 


| sy 
ie Cte Gy 1502-1572 


Bronzino, born near Florence in the golden time of the 
Renaissance, stands out as one of the great portrait painters 
of the sixteenth century. He painted the great nobles of 
his time, especially Cosimo I, Grand Duke of Tuscany, and 
many of his court. Fine examples of his work are con- 
tained in the museums of Florence and Dresden, and in the 
National Gallery of London. 


AN ITALIAN PRINCESS 


Powerful and sculpturesque portrait of a beautiful young Venetian 
woman, who wears a chain of amber links once round her neck and 
depending over the breast, where she fingers it with a slender tapering 
hand. Her brown hair is braided tight and wrapped close to her head. 
Two chains in the Greek fashion over the top of her head may fasten 
a net behind. One sees the network faintly between the chains. A 
very fine gold chain under the amber links disappears below the bodice, 
perhaps ending in a miniature ora charm. ‘The quiet colored gray dress 
has thick puffs over the shoulders and sleeves to the wrist. A transparent 
undergarment open at the throat covers shoulders and bosom. Her 
only jewels are two big pear-shaped pearls at her ears. Candid and 
intelligent, the young girl is imposing through the calm, clear look from 
her gray eyes. 

On panel; height, 27} inches; width, 224 inches. 
Collection: Princr ScraRRA. 


AN ITALIAN PRINCESS. 
ANGIOLO ALLORI BRONZINO. 


DS Ger LS 7 cons 


coed | WV | Ye, 


No. 47 
CARRENO DE MIRANDA “4/0 
SPANISH SCHOOL ee AOrnim a 


1614-1685 


Carreno soon won recognition by his talents, and was 
specially patronized by Philip IV, who employed him in 
several important fresco works, and nominated him as his 
court painter. “ His coloring was, in tenderness and suav- 
ity, perhaps superior to that of any painter of his country 
except Murillo.” | 


YOUNG PRELATE IN RED 


In looking at pictures by Vibert and other moderns who paint red- 
- clothed ecclesiastics one often misses the extraordinary tones of old mas- 
ters. A portrait of a young ecclesiastic like this by the Spaniard Miranda 
is a feast for the eyes. ‘Though mitre and cloak and curtain behind the 
head are of the same tone of red, yet in each case a difference can be 
observed owing to the difference in texture. 

Rich lips, peculiarly shaped nose, long upper lip offer a pronounced 
type of man. The expression is mild and engaging. 


On canvas; height, 31 inches; width, 24 inches. 


No. 48 


@F 2 — RICHARD WILSON 
ENGLISH SCHOOL 


fof (ake te. 1714-1782 


Wilson, the son of a clergyman, first practiced portrait 
painting with considerable success. Going to Italy, he 
there painted some landscapes which were so strongly com- 
mended by brother artists that it determined him to make 
landscape painting his life work. He had a long struggle 
with poverty, and never during his lifetime achieved the suc- 
cess he deserved. It is only in late years that his superior 
merits have come into public recognition. 


AN ITALIAN LANDSCAPE 


A landscape from the lower ‘Tiber perhaps, but more probably not 
a literal transcript of any one spot. In the foreground an animated dis- 
cussion goes on between four men, one of whom examines a stone with a 
carved relief. To the left sits a man drawing the monument before him, 
perhaps part of some ancient bath. On the river’s edge three men bend 
as they track a boat concealed by the bank. To the right is a clump 
of trees with long pendant moss. 

Mellow pearly distance with white clouds melting. An ideal land- 
scape which expresses the movement of British art prior to the Revolution. 


On canvas; height, 26 inches; width, 40 inches. 
Collection: Rev. M. Patmer, Portland Place, London. 


PORN OPI: 
bY Ol AsO ye. 


cad, ne, Y4. 


JOHN OPIE LOLO 
ENGLISH SCHOOL 7 AD. b LYSE ES: 
1761-1807 


Opie, the son of a carpenter who desired him to follow 
his trade, was so filled with the love of drawing that noth- 
ing could divert him from the life of an artist. At nine- 
teen he came to London, where he soon won success, paint- 
ing not only portraits but domestic and rustic subjects as 
well. In 1806 he became Professor of Painting at the 
Royal Academy. Good examples of his work are found in 
the National Gallery and in the National Lote Gallery 
of London. 


GIRL AT THE WELL 


Large decorative figure of a country girl in dull red skirt and a short- 
sleeved long-necked jacket. She is carefully posed by a square well- 
curb, leaning her left elbow on the stone and the back of her left hand 
delicately against her cheek. Fine eyes and a Cupid’s bow for a mouth; 
a half smile and an arch look give animation to this figure. Notable is 
the disposition of the large color masses—the rose jacket and the well- 
head, the simple big jar to the right, the tree trunks to the left. Itisa 
picture which holds its own from a great distance. ‘There is vivid, 
strong coloring here, and a composition almost sculptural. 


On canvas; height, 56 inches; width, 44 inches. 
Collection: R. S. Smrru, London. 


No. 50 


y S20 — ANTONIO MORO 
ify: Sle DUTCH SCHOOL 
AW eae Tf * : 1512-1578 


Moro, called also Mor, Moor, and More, was born at 
Utrecht. After studying with Jan Van Scorel, he went to 
Italy. On his return to Holland, he first devoted himself 
to an imitation of the style of Holbein. Being recommended 
to the Emperor Charles V, he went to Spain in 1552, where 
he painted the portrait of Prince Philip (afterwards Philip 
II) and many members of the royal household. The Em- 
peror sent him to England to paint the likeness of Queen 
Mary, when he also painted the famous portrait of Sir 
Thomas Gresham, now in the National Portrait Gallery. 
Moro’s works are highly esteemed by all art connoisseurs, 
and are found in the principal European galleries. 


A GENTLEMAN OF RAVENNA 


A noble citizen of Ravenna, whose titles to distinction are set forth 
in a pompous inscription, interests not so much because the Venetian 
Senate appointed him, in 1541, to receive the High Pontiff of his day on a 
visit to Ravenna, nor because he was persona gratissima to the Dukes 
Gonzaga, but because he has an intelligent face, and was painted by the 
great Anthony Mor. 

Next to the simple, earnest look and unpretending gesture, we may 
admire the admirable painting of eyes, hair, and ruffled collar. A slight 
stiffness in the drawing of the hand belongs to the period—after 1541 
and before 1545. 

Splendidly decorative is the suit of nearly full armor, worn partly 
under and part over a dark wine-red coat of velvet. Observe the gold 
hilt of his sword and the peculiar shape of the gold buttons. Antonio 
Moro painted other gentlemen in iron suits, such as “A Knight of 
Malta” in the Museum at Vienna. 

On canvas; height 52 inches; width, 37 inches. 
Collection: Exate Garuuarp, Paris. 


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No. 51 


BONAVENTURE DE BAR ohn Adee 
FRENCH SCHOOL 


1700-1729 DP See. 


The tremendous values which are now placed on the 
works of Watteau have called attention to those of his fol- 
lowers who were imbued with his style and beauty of color. 
Among these, Bonaventure De Bar is gradually rising more 
and more in public appreciation. His life was brief, and 
few details have come down to us. He was received as a 
member of the French Academy in 1728. ‘The records 
show that two of his paintings in the style of Watteau were 
publicly sold as early as 1737. 


FETE CHAMPETRE 


Brightly dressed men and women enjoying themselves in a park, 
strongly suggestive of Italian landscape architecture. ‘The composition 
uncommonly extended, running from the lady in black, who seems a 
portrait, to the seated man in a red cloak, who is the sixteenth figure 
in the scene. 

The style of Watteau is very well imitated and a certain originality 
added. ‘The composition resolves itself into three parts, one group to the 
left, another to the right, and a third central but a little to the rear. That 
on the right enjoys the dancing of two figures, of which the man with 
the castanets is the livelier. In the rear, young men and women with 
mandolins are singing and playing. The scene is such as Boccaccio 
imagined for his young people. A painting full of decorative charm. 


On canvas; height, 42 inches; width, 60 inches. 


No. 52 


< SPANISH SCHOOL 


Efe #4 a 1610-1667 


Mazo, born at Madrid, entered the studio of Velasquez, 
and became his son-in-law. He followed closely in his mas- 
ter’s footsteps. ‘‘ Mazo was an admirable portrait painter; 
his pictures resemble very closely those of Velasquez—the 
same rich color and fine treatment.” At the death of Velas- 
quez, Mazo was made painter in ordinary to King Philip, 
which post he also occupied under Charles II. 


A SPANISH GRANDEE 


A splendid bit of decoration is this canvas just as it is, without regard 
to subject or painter. The black cloak sprigged with gold, similar to 
the black gold sprigged body coat and short hose, is wound around the 
grandee’s lower body below the arm and comes over the left shoulder 
and down in front. Across the waist and on the uplifted left arm, where 
that is held akimbo the lining of this cloak is seen. This lining is a 
lovely old rose color, darker in the shadows. Corresponding is the color 
of the stockings, and close, if not identical, the color of the tablecloth, 
where his right hand rests. Add to this the ostrich feathers of his beaver 
on the table and the rose-red curtain above, and it must be confessed 
that few of the great masters have hit a finer color scheme. 

Firm and slightly insolent, the young aristocrat with his natural 
curling brown hair, small mustache, and tip of goatee under the lip 
makes an unusual and most attractive picture. 


On canvas; height, 82 inches; width, 47 inches. 
Collection: T. Gattt, Paris. 


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No. 53 


SIR JOSHUA REYNOLDS 2,3f07 —— 
ENGLISH SCHOOL Bar elt 


1723-1792 hittig ce tle flee 


Reynolds is acknowledged as the greatest of all English 
portrait painters. His life was one uninterrupted artistic 
triumph. Whether as the President of the Royal Academy, 
or as the writer of the famous “ Discourses on Art,” or as 
the intimate friend of Dr. Johnson, of Oliver Goldsmith, 
and of all the great Englishmen of his time, he stands out 
as a leader of men and as a shining ornament to the art 
profession. 


ELIZABETH, COUNTESS OF BERKELEY 


Rich, splendid coloring in the portrait of a character. A strong, 
capable woman is this lady with fine dark eyes and ripe lips, tiny pink 
ears and taper fingers, who turns almost profile and looks off to her right. 
The brown hair, with one small dark red rose set in front, contrasts 
strangely but attractively with the almost black eyebrows. Under the 
soft wine-red scarf knotted about the neck is a simple velvet ribbon, 
and the white satin cloak thrown over her shoulders is trimmed with 
fur. Hands and laced sleeves are painted with little attention to detail, 
as was Sir Joshua’s custom. A beautiful example of the work of this 


great artist. 
On canvas; height, 30 inches; width, 25 inches. 


No. 54 


74 v{li——— JAN WIJNANTS 


ih ¥ i DUTCH SCHOOL 
/ ek 


Vv 
Dae 1615-1679 


ijnants, born at Haarlem, was one of the principal 
founders of the great Dutch School of Landscape Art. He 
is said to have been the teacher of Philip Wouwermans and 
of Adriaan Van de Velde, but little is really known of his 
life. He died in Amsterdam. In the rendering of sky and 
landscape he was.a master of the first rank, but he had little 
facility in the painting of figures and animals. These were 
generally added to his pictures by other eminent artists. He 
is well represented in most of the leading European galleries. 


CHATEAU DE CLEVES 


What first attracts in this picture is the soft cloud masses, then the 
delicate feeling for movement in the distant hills; after that we begin to 
appreciate the noble proportions of a castle which at one time, doubtless, 
had its moat and drawbridge and still retains the round tower of feudal 
times. 

It is a very peaceful scene now. ‘The peasant woman and huntsman 
with dogs and guns in the foreground, the reapers forming stacks in the 
middle distance, the man on a white horse approaching by the road, and 
the little figures before the castle, help to carry the perspective. A soft, 
pale golden sunlight falls from left to right across the scene; well-studied 
trees in groups to right and left frame the view. 


Signed, lower right, J. WisNANTS, 1675. 
On canvas; height, 33 inches; width, 40 inches. 


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No. 55 


SIR PETER LELY pe: Y yi 
ENGLISH SCHOOL 


1617-1680 Go [Katte 


Lely, born in Germany, educated in Holland, came to 
England so early in his career that he is counted a member 
of the English School. He was patronized successively by 
Charles I, Cromwell, and by Charles II, the latter of whom 
appointed Lely his principal painter, and made him a baro- 
net. ‘The number of his portraits is large, but the pleasing 
color and quality of his work, with the broadening public 
appreciation, is steadily increasing the value of his canvases. 


DUKE OF MONMOUTH 


Powdered hair and sweet young face make a piquant contrast in 
this brilliant bit of color, decorative in an extraordinary degree. The 
young son of the king has brown eyes. He wears a superb long skirted 
coat of gold brocade lined with blue silk; and at wrists and neck there is 
costly lace. Beautifully modeled are his little pink hands; with the 
left he makes gesture of amity to his greyhound, only the head of which 
appears as he looks up at his master. A red cloak is draped in an 
elegant fashion from the shoulders, and, after falling behind, is brought 
up in front and held by the right hand, the elbow of which rests with 
equal elegance on the base of acolumn. Background a brownish shadow 
tint which harmonizes with the soft colors. Bold yet lovely color scheme 
carried out in a masterly fashion. 


On canvas; height, 324 inches; width 254 inches 


No. 56 


vp 7{ — WILLIAM HOGARTH 
ENGLISH SCHOOL 


we Kaleto~ 1697-1764 


Hogarth, the school-teacher’s son—“ the first man of 
genius in the native British School ”»—was born in London. 
After an apprenticeship to a silversmith, and following a 
long period of work as an engraver, he finally developed 
into a painter in oils. The brilliant character of his work 
is too well known to need comment. It is very unequal, 
but at its best his pictures possess an abiding charm. 


THE ARTIST’S SISTER 


In Hogarth’s pictures we have a reflection of the Puritanical frame 
of mind which had a chance for expression under the Commonwealth 
and was to a large extent supplemented at the Restoration. He rep- 
resents the British middle class in its stubborn attitude toward the 
luxury of the upper class which reappeared with Charles II. 

Severity and sweet candor, which suit well the famous British 
moralist in paint, mark this portrait of the young lady. There is a fas- 
cination in the very exaggeration of simplicity in the portrait. ‘Two 
pearls in a brooch are the only concession she has made to the feminine 
love of dress. Beautiful painting of the whites. 


On canvas; height, 30 inches; width, 25 inches. 
Collection: Mr. Lams, Beaumont Hall, near Lancaster, England. 


WILLIAM HOGARTH. 
16907-1764. 


cali ne: SF: 


No. 57 


GEORGE MORLAND fe o— 
ENGLISH SCHOOL : 


1763-1804 Conn key Ci gf 


Morland’s father and mother were both artists, and his 
own art instruction was so successful that he began exhibit- 
ing at the Royal Academy when he was fifteen years of 
age. He produced a great number of works, which, by 
reason of the growing demand, are becoming increasingly 
valuable. He produced a few portraits, some very success- 
ful pictures of children at play, but his fame rests principally 
on his examples in which animals—pigs, horses, cows, and 
sheep—are introduced. 


LOOKING AT THE PIGS 


The weatherbeaten oak beloved by this artist, the bent rustic, and 
above all the pigs, are so often found in his pictures that they have be- 
come traditional with Morland. Observe the good distribution of animal 
and human figures. Note also the extraordinary handmade barrow 
which also seems to do duty as a trough. 

The sky of robin’s egg blue, the crisp-edged white clouds, and the 
rich tones in the pink and black swine are further signs of Morland. He 
was the first Englishman who dared celebrate the pig. 


Signed, middle right, “G. Moruanv.” 


On canvas; height, 25 inches; width, 30 inches. 
Collection: Mr. Eneusx, Cranbrook, Kent, England. 


No. 58 


474 — SIR GODFREY KNELLER 


et 


we, Ge C24xcuse SCHOOL 
ay re 1648-1728 


Kneller, after studying with Rembrandt and Ferdinand 
Bol, went to Italy. On his return he first settled in Ham- 
burg, thence going to England in 1674. He soon won the 
favor of the court, painted nearly all the royal and noted 
personages of his time, was knighted in 1692, and created 
a baronet in 1715. On his death a monument, for which 
Pope wrote the epitaph, was erected to him in Westminster 
Abbey. It is in his “ Poem to Kneller ” that Dryden intro- 
duces the memorable lines: 


“Such are thy pictures, Kneller, such thy skill, 
That nature seems obedient to thy will; 


More cannot be by mortal art exprest; 

But venerable age shall add the rest: 

For Time shall with his ready pencil stand, 
Retouch your figures with his ripening hand, 
Mellow your colors, and imbrown the tint; 
Add every grace, which time alone can grant; 
To future ages shall your fame convey, 

And give more beauties than he takes away.” 


PORTRAIT OF KING WILLIAM III 


The diary of John Evelyn has much to say of the coldness of the 
Prince of Orange. People were used to the debonnaire in Charles II, 
and complained of the formality and aloofness of the conqueror of 
James II. 

This character is not belied by the likeness Sir Godfrey Kneller has 
left of him, Slightly disdainful and somewhat pensive, the founder of 
the new branch of British kings does not look like a man who would 
stoop to curry favor with any one. It is the face of a virile and forceful 


personality. 

On canvas; height, 313 inches; width, 25 inches. 
Collection: Str Ropert PEEL. 
Collection: M. H. Cotnacut, London, 


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No. 59 
SIR THOMAS LAWRENCE Fo Py er 


ENGLISH SCHOOL 7 
1769-1830 ad Lh. Loge cre 


Lawrence was born for success. At twenty-one the king 
patronized him and insisted upon his being made an extra 
Associate of the Royal Academy. Sir Joshua Reynolds, 
realizing perhaps that his mantle was to fall on young Law- 
-rence’s shoulders, helped him by teaching and with advice. 
When Reynolds died, in 1792, Lawrence was made painter 
in ordinary to his Majesty. His success as a portrait painter 
steadily increased with his life. Medals and public honors 
were showered on him. In 1815 he was knighted. In 1819 
he was elected President of the Royal Academy. On his 
death he was buried with great pomp in St. Paul’s, where 
he rests by the side of his great predecessor, Sir Joshua. 


PORTRAIT OF A LADY 


We have here a picture that was painted by the famous President 
of the Royal Academy with affection; not for exhibition. It has none 
of the “smart” look he gave his titled sitters. Very rare is it that Sir 
Thomas Lawrence showed sentiment, and its presence adds great 
value to the canvas. 

Sweet and yet slightly melancholy is the look of the charming lady 
with long brown curls hanging round her neck and on her bare shoulders. 
She wears a transparent gold band through her hair, and round her neck 
a single string of pearls. A dark red velvet dress completes the simple 
portrait, which has a singularly grave and appealing expression difficult 
to account for, but very attractive. It forces one constantly to ask: 
“Who was she? What was her fate?” 


On canvas; height, 244 inches; width, 204 inches 


No. 60 


Lf j= MARIETTA ROBUSTI TINTORETTO 


ee 


| ITALIAN SCHOOL 
a 4 1560-1590 


Marietta was the favorite daughter of her famous father 
Tintoretto. She devoted herself to portrait painting, and 
her work greatly resembles that of her father. She not only 
painted many of the great nobles of Italy, but her fame 
was so great that she was invited to the court of Emperor 
Maximilian and to that of Philip II of Spain. Her early 
death prevented her reaping the full fruits of her evident 
genius. . 


THE DUKE OF PARMA 


So many artists of note have been stimulated by the vigorous per- 
sonality of Tintoretto that it is highly interesting to connoisseurs to 
observe the work of a daughter who carried on the Tintoretto tradition 
with special care for the permanent quality of the painting. This can- 
vass speaks well for her talent. 

A big decorative canvas is this state portrait of a young man in a 
senatorial gown of plum-colored cloth, lined and edged with ermine. 
He has a mass of dark black hair, black mustache and goatee, large fine 
features and a penetrative look. The nght hand slightly opened in 
argument indicates an orator. A portfolio on the chair behind him has 
metal decorations which include a coat of arms with a heraldic eagle on 
the shield. A shoulder piece gorgeously embroidered in high gold relief 
adds to the stately appearance of the man. 

Signed, middle left, Franciscus QuIRINUS. 
M. T., pinz. 
On canvas; height, 48 inches; width, 39 inches. 
Collection: Lorp ANGLESEY, England. 


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No. 61 


; JOHN HOPPNER /. LO? —— 
ENGLISH SCHOOL 


1758-1810 pee Qurrue 4G A 


Hoppner, born in England of German parents, devoted 
himself to art from his youth. At the age of seventeen he 
became a student at the Royal Academy, at twenty-one he 
gained the silver medal, and at twenty-five the gold medal. 
He soon won great recognition at Court, painting portraits 
of the Royal princesses. In 1789 he was appointed portrait 
painter to the Prince of Wales—also enjoying the patron- 
age of the Dukes of York and Clarence. Hoppner and 
Lawrence were the great art-rivals of their time. Chronic 
ill-health pursued Hoppner, and he died at the early age 
of fifty-one. 


MISS ELIZABETH MOORE 


Lady-in-waiting to the Duchess of York. 

The lady sits in a pensive mood, with eyes turned to her right, and 
arms restfully cast on a table with red cover to her left, and the arm of her 
chair to the right. Long loose gloves of a light tan color, one drawn on 
to the elbow, the other held loosely in the gloved hand. Simplest “baby 
waist” white gown of a soft material, a blue ribbon for girdle below the 
breast and a chain of coral beads. Dark hair, powerful build, evidently 
an Irish type. 

Very decorative picture cast in broad masses. 

On canvas, height, 454 inches; width, 394 inches. 
Collection: Mason F. Moore, grand-nephew of Miss Moore. 


No. 62 


ee Jf — £\JAN VAN GOYEN 
DUTCH SCHOOL 


ay, 
fe 19 oe Cbs / 1596-1666 


Van Goyen is a favorite with all lovers of Dutch art. 
As the pupil of Esaias Van der Velde—the father-in-law 
of Jan Steen—the teacher of Solomon Ruysdael and of 
Nicholas Berghem, he came into close relations with the 
great painters of his time. He was born at Leyden, where 
he spent a large part of his life; but he went to The Hague 
before he was forty, where he became a member of the 
Painters’ Guild and where he remained until his death. 


TWILIGHT ON A DUTCH RIVER 


A study in grays by a master only recently understood. ‘Twilight 
has almost come, and the sky is still light in the west, as a party of 
travellers with three horses and some country people start in a scow for 
a hamlet clustering round a church with big detached square belfry. 
Another ferryboat has just landed at the dock to the right. One sees 
the lantern on the slanting pole which greets the ferryman after nightfall. 
Incredibly slow must the ferry have been with nothing to propel it but 
the single oar of the sculler in the stern. But haste does not dwell in this 
leisurely community. ‘The very windmill is asleep and the sails of the 
yacht to the left are slack. Peaceful are the kine silhouetted against the 
pale river, peaceful the white bulging clouds. Only a few birds on the 
wing over the old church. : 


Signed, on last boat to the right, with monogram V. G. 
On canvas; height, 354 inches; width, 474 inches. 


EDN SN ss a1 i IR ae oe tga i 


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No. 63 
SIR HENRY RAEBURN / 4/0 —— 


ENGLISH SCHOOL too 
1756-1823 

The life of Sir Henry Raeburn was unbrokenly devoted 
to portrait painting. Excepting a short time passed in 
London and two years of study in Italy, his days were spent 
in Edinburgh, where he was soon recognized as the head of 
the Scottish School. In 1815 he was elected member of the 
Royal Academy, and he was knighted by George IV in 
1822. “ His reading of character is peculiarly shrewd and 
convincing; each of his pictures has a directness, a power, 


and sometimes a subtility of handling, which place his work 
among the finest achievements of portrait painting.” 


PROFESSOR DONALD STEWART 


A most interesting canvas. After one has realized that this likeness 
of a geologist is placed at the entrance of the celebrated Fingal’s Cave 
on the island of Staffa, after one has noted the minerals to one side and 
the long staff with iron spud and point, one has to acknowledge that the 
simply modeled face of Donald Stewart dominates the canvas. White 
haired and resting from his labors, he is meditating deeply on the forces 
which must have worked in order that a whole section of basaltic rocks 
should have crystalized into such orderly ranks. Hands as well as face 
are carefully but broadly painted. It is a fine and serious composition. 


On canvas; height, 46 inches; width, 37 inches. 
Collection: M. H. Cotnacut, London. 


No. 64 


SOC" Tes SEAN MARC NATTIER 


ee bam FRENCH SCHOOL 


1685-1766 


Nattier’s father was an excellent portrait painter, his 
mother a distinguished miniaturist. Soon winning reputa- 
tion as a portrait painter, he was in 1716 taken to Amster- 
dam to paint the picture of Peter the Great, then sojourn- 
ing in Holland. In 1718 he was received into the Paris 
Academy on the strength of an historical painting. There- 
after, however, he devoted himself exclusively to portraiture, 
being largely patronized by the beauties of the Court of 
Louis XV. In the last few years the extraordinary deco- 
rative quality of his work has been recognized, and the 
prices of his pictures have been advancing by leaps and 
bounds. 


THE DUCHESSE DE CHATEAUROUX AND THE 
COMTESSE DE FLAVACOURT 


The Duchesse de Chateauroux, a favorite of Louis XV, had sisters 
as beautiful as herself, and it is one of her sisters whom Nattier has 
painted along with the Duchesse in this charming allegory. 

The Duchesse, representing Dawn, reclines gracefully on dark brown- 
ish masses of clouds. From a classical pitcher in her right she trickles dew 
or morning showers. Above her brow shines Venus the morning star. 

The Comtesse de Flavacourt is meant for Diana, or one of the 
deities fabled to have put Cupid to rout. She has stolen his bow and 
arrow and holds them out with her right hand, while her left is held up 
in admonition to be silent, lest Cupid should wake. 

Exquisite modeling and lovely color scheme. Observe the bold 
repetition of line in the composition, alike but always different. One 
of Nattier’s most beautiful pictures. 


On canvas; height, 29 inches; width, 354 inches. 
Collection: pp Canuzac, Chateau de Cahuzac, near Toulouse, France. 


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No. 65 | 
DAVID TENIERS Aa Ge 


FLEMISH SCHOOL bier oe, e/a 
1610-1690 acai 


Teniers was, born in Antwerp. He was pupil of his 
father, the intimate friend of Rubens, and the husband of 
the daughter of Jan Breughel. His life was spent in 
Flanders, principally in Antwerp and Brussels, where his 
pictures, especially scenes from peasant life, won great ad- 
miration. His works are found in all the principal galleries 
and collections of Europe, and the masterly quality of his 
handling and color harmonies have been recognized for over 
two centuries. 


THE PRODIGAL SON 


The prodigal son is seated on the left in an attitude of melancholy, 
with his water gourd at his elbow, his dog curled up in front, pigs, sheep 
and cows occupying the rest of the foreground. Cleverly are his loneli- 
ness and menial condition suggested by the contrasted scene in the rear. 
While he has to watch the flocks the masters—a lot of peasants—are 
carousing under an arbor before an inn. The hostess is bringing them 
food and drink. Off to the right is a typical Dutch village with figures; 
and in the rear a church with central tower and transepts. ‘This is a 
well-painted village scene which at first might easily be taken for a mere 
bit of realism. It is, however, Biblical. The naivété is charming. 

Especially fine is the distant group of boors, each figure individual and 
natural. A noble example of this distinguished master. 


Signed, lower left, D. TENIERs. 
On canvas; height, 25} inches; width, 324 inches. 


No. 66 


/ SSO — JOHN CONSTABLE 
ENGLISH SCHOOL 


NS pthekly ged 1776-1837 


Constable, who is by many considered the greatest land- 
scape painter of the English School, very rarely painted a 
portrait; yet the quality of these rare portraits is so excep- 
tionally fine that it must be regretted that he did not devote 
himself more frequently to this branch of art. 


DANIEL MENDOZA 


Rare indeed are portraits from the brush of a man whose fame is 
solidly based on landscape, yet here is a portrait, and a stunning one, 
by the Englishman whose views of Surrey and Kent were hardly less 
influential than the landscapes by the old Dutch masters in forming the 
“Barbizon” School of landscape in France. 

Mendoza belonged to the prize ring, when the pugilistic rig was 
patronized by the first gentlemen of the realm. ‘Their favorites naturally 
aspired in a social way. Here is a pugilist of mark “disguised as a gen- 
tleman” in the blue cloth and gold buttons, the high white stock and 
ruffled shirt of the early nineteenth century. Observe the easy way in 
which the clouds are painted, and the firm and masterly modeling of the 
face, which suggests the scowl of a leader in fisticuffs. 


On canvas; height, 282 inches; width, 25} inches. 


PALMA GIOVINE. 
154 oer - 


No. 67 


JACOPO PALMA (IL GIOVINE) J. Goo ai rie 


ITALIAN SCHOOL 


, 
1544-1628 aurniw Aef 


Palma Giovine, born in Venice, was the grandnephew 
of Palma Vecchio, and in some degree continued the splen- 
did traditions of his uncle. His talent developed early, as 
is proved by the fact that at fifteen the Duke of Urbino 
took him to Rome for art study. Most of his life was spent 
in Venice, where for a time he worked with Tintoretto and 
Paul Veronese. Fine examples of his work are found in 
the museums of Venice, Dresden, Munich, and Vienna. 


VIOLANTE PALMA 


Blue eyes and blonde hair colored by nature, not through art, seem 
out of place in Italy, but the Venetian territory is full of red and light- 
haired Gauls, and the city of Venice has a strong infusion of Slavonic 
blood. Here is a young woman belonging to the Palma family. With 
her left she has begun to unfasten a necklace of pearls which falls over 
the back of her hand. Her dark green cloth gown, cut low in the neck, 
is gorgeously reinforced with cloth of gold. In the left upper corner is 
a painting of Mary Magdalene doing penance in the desert. The gesture 
and the loosened necklace of pearls may refer to some vow made by the 
fair sitter to bestow charity on the poor. 

Sweet and ingenuous expression, noble features and fine eyes. 

The painting has also been interpreted as signifying “Vanity and 


Repentance.” 
On canvas; height, 37 inches; width, 294 inches. 


No. 68 


/, B f{U ee ADRIAAN VAN DE VELDE 
4 DUTCH SCHOOL 


He aces f 
GOTLY | 1639-1672 


Van de Velde, the son of the marine painter Willem 
Van de Velde, the elder, first received instruction from his 
father; but his taste inclining more to landscape, he entered 
the studio of Wynants, and afterwards studied figure paint- 
ing under Philips Wouwerman. He excelled in landscapes 
with animals. ‘This painter is greatly esteemed by lovers 
of the Dutch School. 


THE OLD BROKEN BRIDGE 


An interesting scene is this ancient bridge with one whole span 
carried away by a freshet or by the necessities of war. ‘The old tower is 
a wayside inn, and the traveler whose white horse has been led to drink 
in the stream is taking wine with the landlady. Cattle, horses and figures 
are excellently wrought; they come in well and are needed. But they 
are not the essential thing. 

What makes this a thing of beauty is the landscape—grave, beautiful, 
even melancholy. The clouds are wonderfully fine. A mellowness 
floods the whole, and gives the undertone to a poetical landscape of great 
dignity and charm. 


Signed, on bridge in center, A. VAN DE VELDE. 


On canvas; height, 31 inches; width, 49 inches. 
Collection: Mr. Humpurey Warp. 


“22 ave ke 


“sL49QT—OSoOrl 
Merce aA Bae hi A. BEY VIaay 


No. 69 
GONZALEZ COQUES SIL OLE 


FLEMISH SCHOOL 
y) Ht ay loy— 


1618-1684 

Coques, or Cocx, was born in Antwerp, where he be- 
came a master of the Guild of St. Luke, and afterward its 
Dean. “ He painted portraits of a small size, and endeav- 
ored to give them the correctness and simple character of 
nature which we admire in the portraits of Van Dyck. His 
success was equal to his merit. His groups of family por- 
traits were esteemed superior to those of every artist of 
his time—Van Dyck alone excepted. Although his heads 
rarely exceed the length of an inch and a half, they have 
all the breadth, freedom of touch, and animated character 
of the portraits of Van Dyck. MHlence he is sometimes 
called the ‘ Little Van Dyck.’ In regarding his pictures 
we lose sight of the small scale on which they are drawn, 
and they assume the size of life.” His compositions are 
relatively few in number. Good examples are found in the 
Dresden Gallery, National Gallery, and Buckingham Pal- 
ace collection. 


THE SOMALLINI FAMILY 


A family group of nobles proud of their warlike achievements, for 
the father, on the left, wears armour and holds a shattered spear, while 
the little boy beside the seated mother has a miniature sword by his side. 
The young man behind also holds a big basket-hilted sword. 'The two 
men appear to be brothers. Charming is the little girl on the right in 
her long womanish gown, ruff, and rose in her auburn hair. Even the 
lapdog is not forgotten. All the faces are serious and determined, with 
close-set lips. 

Curious and striking domestic picture. 


On canvas; 25 inches square. 


No. 70 


I/O — JEAN B. SIMEON CHARDIN 
FRENCH SCHOOL 


Pkauf fe 1699-1779 


Chardin, born in Paris, was a pupil of Coypel. He first 
devoted himself to pictures of still life, which have the qual- 
ity of the old Dutch masters. Not until near his fortieth 
year did Chardin take up figure painting. “ His works are 
remarkable for truth, simplicity, and neatness of finish.” 


PORTRAIT OF A LADY 


A difficult color scheme of blue, black, and white. A married woman 
in the out-of-doors dress of France in the second half of the eighteenth 
century. ‘The muff is not worn for warmth, but as a fashion of the day. 
The dark-blue figured dress of dark-blue cloth has a cloak hanging from 
the shoulders. Wide sleeves with lace cuffs made equally generous, and 
a black silk scarf going round the lace fingered cap and loosely knotted 
below the chin. 

This scarf frames the still pretty and youthful face with some coquetry, 
and gives a peculiar charm to the lady, who otherwise appears to be a 
very sober and discreet person. 

Excellent modeling of eye sockets and mouth, which latter is slightly 
set in a firm expression not belied by the clear, intelligent gaze. 


On canvas; height, 31} inches; width, 25 inches. 
Collection: J. CoupErc, Paris. 


~ FP) 2 QI 29> 


OS oT1r—O1er 
SaH4INAL CIAVad 


MOS, “IV DiGOsd BAHL 


No. 71 
JOHN ZOFFANY  /60—— 


ENGLISH SCHOOL fp Jt /. WL Pit ae 


1735-1810 


Zoffany’s real name was Zauffely. Born in Bavaria, 
where his father was an architect, he is said to have run 
away to Rome at the age of thirteen, where he remained 
about twelve years. He returned to Germany, and then 
went to England at the age of twenty-five. First meeting 
with little encouragement, he soon began to acquire fame 
by his portraits, which are admired for their truth and 
vivacity of expression. He painted a group of the royal 
family and of other notables. He went to India, where he 
acquired a fortune. His works are steadily gaining in value. 


CAPTAIN MONEY, THE AERONAUT 


A careful and thorough bit of work which recalls in its landscapes 
the earlier Dutch masters, and in the figure of Captain Money the 
early work of Gainsborough, except that it is much clearer brushed and 
harder. 

A rather original way this is for a portrait. Captain Money is a 
lover of literature and of nature. Like Izaak Walton, he takes his book 
to the brookside. But he is an elegant fellow, very neatly dressed, 
and too much of a city man to seem very thoroughly in keeping with 
the rustic scene. 

Observe the cathedral in the distance and the conscientious drawing 
of the weeds in the foreground. 


Caprain Joun Money was of Trowse Hall, Norwich, England. 
On canvas, height, 26 inches; width, 23 inches. 


No. 72 


Si 2~ —— ~~ ALONZO SANCHEZ COELLO 
) SPANISH SCHOOL 


: o ’ dL ~ 
5S Opeuely ek 1518-1590 


Alonzo Sanchez must not be confounded with Claudio 
Coello, who was born a hundred years later. In 1541 Coello 
resided in Madrid, where he became intimate with Antonio 
Moro. He painted the portraits of the royal families of 
Portugal and Spain, and of many of the dukes, popes, and 
cardinals of his time. 


PORTRAIT OF A LADY RESEMBLING MARY QUEEN OF 
SCOTS 


A rich and solid brushwork having fine color tones in background, 
hair, color, and jewelry gives this portrait of a young noble lady all the 
charm of a masterpiece. A strong living look marks the countenance. 
But a historical connection is suggested through the singular likeness 
to the pictures of Mary Queen of Scots. 

Thus this young princess may have looked before she went to Scot- 
land. She has a high forehead, small French features, large eye sockets, 
full but not sensuous lips, a well-shaped small chin. 

The black velvet tocque she wears has very sober decorations. Her 
earrings are of pearls forming a stag lying down. On a chain round 
her neck is a medal with unrecognizable inscription or relief. 


On panel; height, 21} inches; width, 174 inches. 


DANIE L’ MEND OZA.. 


WO Taos SON S ae Ae LE 
EPP a aN a a NG ET Ge 


Cnt Me - Ge ‘ 


No. 78 
LEANDRO DA PONTE BASSANO 5 ogy ee 


ITALIAN SCHOOL W,> 
FH [ett 
1555-1623 ? MebG_ 


Leandro, one of the several artist-sons and pupils of 
Jacopo da Ponte, was born in Bassano. He was famed 
chiefly by his portraits. The Doge Grimani made him a 
Knight of the Order of St. Mark. The latter part of his 
life was spent in great state and luxury in Venice. 


THE DUKE OF VISCONTI 


Portrait of a member of the Visconti family as we see by the coat 
of arms, a serpent holding a child in his mouth—and by a letter the 
gentleman has in his right hand, which is addressed “ Visconti.” 

Visconti is very soberly clad in a dark cloth with relief decorations 
in black embroidery, small round gold buttons, and on the sleeves 
flowrets and sprigs in gold embroidery. His gloves are in his left. 
Simple ruffles, cuffs and collar. 

Strong Italian type of face, such as one sees to-day and also finds 
painted on the walls in Etruscan tombs. Handsome, masculine, thought- 
' ful. The painting is straightforward and suited to the subject. A 
remarkable man painted with perfect ease. 


On canvas; height, 354 inches; width, 27} inches. 
Collection: A. Meuut, Florence. 


No. 74 


/§O FD. A. Cc. DELGADO 


ae » SEVENTEENTH CENTURY 


C : re 
ne A har A certain Delgado, who lived at the close of the seven- 
teenth century, is noted as a Spanish painter. He is called 
Juan Delgado. Whether he is the same as the painter of 
this example it is difficult to determine. The character of 
the picture and the age of the painter definitely establish 
it as seventeenth-century work. 


: SPANISH PRINCESS 


Curious old-fashioned garb of a small child of five years. The little 
girl has a ring on her finger, a bell fastened to a stick to amuse her with 
its noise; a green parrokeet with a string to its leg sits on the table. The 
bow on her right shoulder is fastened with a jeweled pin having the 
likeness of a saint painted in miniature; the other shoulder shows a big 
carbuncle with heavily jeweled pendant. From her waist hang various 
objects by gold cords—a miniature set with cabochon garnets, a gold 
ring, an animal’s paw with sharp claws with gold handle, a rattle, two 
teething sticks of crystal and coral, an apple-shaped box (perhaps the 
hunting case of a watch), a jeweled picture of a saint, etc. If these ad- 
juncts are curious, what may be said of the dress? It is cut low neck 
like a ball dress and almost covered with lace. 

Strange old-wise expression, short dark hair, infantile pose. Most 
attractive by reason of its quaintness. 


Signed, lower right, D. Ant°. CAyETAND DELGADO. 
On canvas; height, 482 inches; width, 33} inches. 


4 ra he 

en ety aera) “ , 

Sey Jt elf a Ate hae ye. 
$ o ditas yin 


I te Aa he a 53! 


* 


_— 
bd 
dnt Nail 


aii ciently “admire the 
th incomparable Mr. 


the enthusiasm of those 
eritics who accept and 


man should be allowed 


after it? Itis true that a number: 
perfectly sound, nor is it likely that 

will « ever be disputed by an “expert 
.” They are for the most 
ortant and not worth disput- 

. a what of the “important” ex- 
ples? What of the male portrait that 
itself HocartH? What of the re- 


at of the canvas attributed to PatEr, 
80 obviously inferiorto theengraving 
under.it? What of the much-advertised 
ea rats “by Navrier”? Mr. Euricu 
observes naively that his Nattiers have 
faeeeneoeed indorsed by leading “experts” 

—“one of them an expert of the Hotel 
Brower! We suppose he means an 

“expert” who presided at some sale 
; there.’ Is there no one to tell him that the 
r records of that venerable institution are 


think it proper to cau- 


rantee, without any con-_ 
af the 2 enormous risk he runs 
nte 1 devotion tothe public. — 
anh hard that a kindly and 


' to no end of trouble 


| ae canvases, when the 
x might as well be given before the 


rable thing attributed to CHARDIN? 


_ EHRICH PICTURE ne 


Seventy-four Paintings Go ‘Under the Ham-— 
., mer for a Total of $63,635. st 
The much advertised sale of “Old } asters: 


alehe. Prices. _were ie in spite of the4 
guarantee printedei the front of each | 
catalogue. A. bate baker's dozen of the 
‘Seventy-four pictures offered brought $1,000. 
‘or over, and several reputed to be by 
famous artists brought startlingly, low 
piers 

-A picture catalogued as a portrait of 
’xloxandar Pope by Hog garth, for instance, 
brought only $475—very low for an. bers ue | 
‘and a fair price for a pom: But pers! 
' haps the most othe Duke @ af the evening 
was that of “The Duke of Parma,” 
“Marietta Robusti © Tintoretto,”. eenioH | | 
‘brought $400. 
| The highest. ‘price o thie ouente wart 
| $8,000, . announced as for a picture 
catalogued as “La Duch@sse de Chateaue 
| roux et La Comtesse de’ Flavacourt. ” The | 
total for the seventy-four pictures sold | 
was announced as $63,635. 

“Sales above $1,000 follow: ; x 

| 


 Jonn Philpot Curran, Sir Henry Raeburn, i 
on W. Crimmins: > 232, oa a8 pees 
Gwynne Taking Music ‘Lessons, * Sir Bee 
Upeter Lely; O'Reilly, agents... //....000.4 1,450! 
The Lock, Jobn Constable; F. Nella, agent.. 6,200) 
La Duchesse 43 Chateauroux, Jean Mare 


fe Wattler;.D. My omMin... 0.6.5. cee ves 8,800 
_ Mrs. Ss haat Sane Sir William Beechey 3 
O'Reilly, agen 215 1-4 sicee. ede ue te tem te 3200 


An ree oe Angiolo Allont Bronzino; 


Oey. ARENWACK 6s eis. ss ae 6 


"Cha 
Protas Beepouald | Stewart, Sir” 
burn; sine ThOMAGs= £04) u cs bauer nee 

e de Diedehivenre et La Gomicsear 

Oe Flavacourt, Jean Mare Nattler; Samuel 
PECTIN VOT ie ed Ge oe des ale Ca ota tee 
ee “Prodigal ais David Tenlers; puree & 


CIP er reer eee eee eee eee ee eee 


' 


Tree eee ee ee i eo a 


pagent Paima,< pena ae (ii Giowies: 
John Lawrence, a 


Velde; O'Rellly, agente... -seevesv nse “1,950. 


LC 


Waldorf-Astoria, 


ore: inne hatkain S. 


gt Ser PRB BI) 
o, “Spanish Prel 
nt q Bee, ee Ae oe ee ee a ar 
ag ig Bae Yan: 
a 3) ROP OS e eee eeeseees + 
“Blind ind _ Mans Buff ;’ oe BoM 
Prams a." Thee eee wes 
sf de dD, alia 


j Sunset B Coast; J. Neale. 


= | ve stat Lady;” L. Ral- 


L SU aR 2 
1 \ oe River Scene;”’ Ralph. 
= RE 


- Ri hancellor;”* S. Branders. 
a se Bag Teck 5” Hy Ow. 
See WURME nec ots" thie Uule's © soc s-0's i s-« 


Cr es 


nt 
et mat ok ie, 
Portrait of Lady; Duryea 


£ mea gen 


Pee eees 


Ce od 


sa 


ef 
rie ee 


Bee any see 
38 hoa ec eect ets ae 
: I ; - schettenheim, wee aus 
29—Santerre, ‘‘Lady with~ Mask;’ h, Ral- 


ee aa) 


ston 4 
eo Alexander Pope; J.‘ Neale 
os “Canal in Venhice:*” “Duryea 


ig ad Ap 


a _ Gentieman > A Tan 


seme eee 


On ER ee OS a ee 


ee elit a 
| $5—Mignard. 
ey Wee etic, ss. 
ae “Portrait of Boy;” so 0’ aie 
‘8—Constabie, a “the” Lock re? Nena: 
eeNehie “Tuchesse de’ Ghateauroux.” 
e 
D. M. Coffin 


| $9—Wouwermans, “at the Inn: J. Seck: 
I Ramsay, ‘‘ Horace Walpole;”} E, 0’ sciet 


teee 


Mrs. M. J. 


DROME: opel mule V REM Cts gilelb's veces 
Ai—marie, Brenghel, “Tandscape with Cas: 
tle;* Neale, PROT ea i ciwsiy'e wlocis 
2—Tournieres, ‘Francois Mouchard} ae 

: His MOODS as eae Oe feiss las 
43— ‘ hey, “‘Mrs, ons; Hs B. O'Reilly, 
44--Tobar, “Christ-Child "and" St!" “ohn 2? 
Duryea_& Potter. atid donn:" 
canbe ag “Le _Glouton; a “Duryea &° Pot- 
CP s viem Bes + ele et ok es besseee eseene 
46—Bronzino, “Ttalian Prin v7 y 
O'Reilly. agent..... ere 


at Silo's Sale 


Charles Pres : 


} ia. al. 


The 


ce of the sale—$8,000—was paid 
; Untemmyer for Mattier’s picture, 
: e de Chateauroux et la eee 


; jw eb Be Tanaicees tk Hallo 
eek Dee gain 


Cates e ee sees Matenuae: tea 
of Ra: 3” Duryea 


“Cheaper 
fifties 


estate? Mee weer age 


of Berkeley; 2? Dur 


in the list, were Mrs. John -E. 
Stanford | White, Sy) T. Perrys-and 
Untermyer. 


47=Miranda, “Young Prelate" J, VD. Crim-~ 


cker 
tanto ne 


wana - atten 
> 


eas Wigs = Ae ae 
Bis i Ss aio : ee 725 
*Bookdag’ at “fis” Wigs? it 
axing Wihiaay 112° “Hotidnd aN 
60—Lawrence, “Portrait” of Yay?" "AL? 
MGDCHACE <5 ls 6 a6 900. 
60—Tintoretto, ‘Duke of Parma;” ‘Holland 
Art G@ i Be Sea eegh aa lebeaeate 400 
61—Hoppner, iss Elizabeth Moore:’* Je . 
k wrence, OTE: ie-S aide blsiain Aostace pte an “1,700 
62—Van a haan aii on Dutch Riv- ; 
IAT.» sie s Mate eatamaeee 725) 
@8--Rachiirn,, “Professor Donald Stewart;”” a 
John Thomas ..... osha -< 4 eee SO! 
G4—Nattier, ‘ ‘Duchesse de Chateauroux et : 
eee de Flavacourt ;” Samuel Un- ee 
65—Teniers, ‘Prodigal Son; ‘Duryea & Pot: Ee 
66-—Constable, “Daniel "Mendoza; RE, 
O'Reilly, agent ..... 1,550, 
67—Palma, _Vigete Pama: ‘John Law- 
TONES; ALONG es cele ai we wane eee 1,900 
- apie oye Velde, “Oid "Broken Bridge;” EB, . 
eilly, BRON | oie Noah sas 9d eee tery 1,350) 
fo ocnee, Lomallini Family; na Naylor. 140 
70--Charam, “Portrait of Lady;’’ J. Kauf- =e 
T1—Zottans, Gaptsin’ Moneys” To i! New: a 
72—Coelio, “Portrait of Lady *'E, O'Reilly, ' 
Been |... SS Cine ele oa haem ete 220 
he “Duke “of! Visconti;’* FP, H. rey 
‘74—Delgado, “Spanish Princess)” “Bb. A, | 
i Tatler sriteeciersenenstagecneans 180 
Total lune us esc wecnink woe oid pccs dts cro peeOe OSB: 


Among the spectators some of whom were 


buyers, although their names do not appear 
Parsons, 


Isaac 


‘EHRICH SALE “BRINGS $63, 635. 


Spirited Bidding. 


‘Seventy-four Paintingesnocked Down Atter 


Seventy-four’ ‘paintings from the collection of the 


attendance and spirited. bidding 


| Ehrich Ga @fies brought-$63,635 last. evening in the 
grand batroom of the Waldorf-Astoria. The sale 


“was Conducted by James'P, Silo. There was a large 


The highest price was"s,000, paid by Samuel Un- 
termyer for ‘La Duchesse de Chateauroux et La 


Comtesse de Flavacourt,” by Nattier. 
started at $1,000. 
knocked down 


The bidding 


“The Lock,’ by Constable, was 
to FEF. Nella at. $6,200, and 


“La 


|} Duchesse de Chateauroux,”’ by. Nattier, to. DoW, 


| Coffin, at $3,800. 
Many paintings were bought by E. O. Reilly, who, 


Parsons, Isaac Untermyer, 


‘was said to represent Stanford White; Mrs. John EH, 
George Crocker, 


Bay- 


ard Cutting, Thatcher Adams and Mare A. Blumen- 


berg. 


John D. Crimming bought several pictures, includ- 


ing “John Philpot Curran,’ 


by Raelburn, for $1,060, 


and ‘“‘Girl at the Well,” by John Opie, also at $1,050, 


crestor eaeestemnania 


ESEARCH INSTITUTE | : : 


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